Lesser Noir
Heiress Claudette Colbert is about to marry beneath her -- to Robert Ryan, whom neither friends nor family really approve. But no, in the middle of the ceremony a stranger stands to voice his objection. His buddy married the lady only last March. While they wait for a long-distance phone call to verify or deny the man's claim, he beats a hasty exit. But the news on the phone is scandalous. Although Colbert insists she's never heard of Lucien Randall, the wedding is called off, and the unhappy couple trek to the seaside to look into the strange case of the mysterious husband. Not only are there court documents, but witnesses keep recognizing Colbert and refer to her as -- gasp -- "Mrs Randall". As the plot twists, Colbert is driven into madness, a la GASLIGHT.
This is not quite low enough for a B film, but not really an A, in spite of the stellar names of Robert Ryan and Claudette Colbert. (Ryan holds his own, but Colbert is out of her element, and histrionics ensue.)
This is notable as one of the few film roles for Vivian Vance who proves she might have forged herself a bigger screen legacy other than 'Ethel Mertz' on I LOVE LUCY. Vance's shady character is subtly humorous at times with overtones of sluttiness. Too bad the role wasn't beefed up with more screen time for her.
There are a few intriguing elements to put a strange spin on the production. Interesting cast choices include a throw-away cameo for Jose Ferrer in a part that could've been given to any standard extra. And the mysterious character of Lucien Randall is played by Dave Barbour, including a sampling of his jazz guitar work. This musical interlude (as well as Ferrer's cameo) occurs in a scene that might've emerged from the brow of David Lynch. These too-cooool hep-cats are lounging around an apartment, riffing some breezy arpeggios while a small audience of laid-back partyers let the vibes just wave over them like they were reclining in an opium den. One of the ladies turns to Ferrer and even calls him by his real name -- "Jose, do you have a light." His hip rejoinder -- "Look at me" -- as he smiles and hands her his cigarette.
Speaking of Ferrers, I never knew until now that actor Mel Ferrer began as a director. He does an okay job with this material, but ultimately the premise becomes much too preposterous -- much like the hysterical befuddlement of Colbert. (Again, this might actually work in the hands of a David Lynch, who can stretch the preposterous to such an extreme it becomes scintillating and who can push the histrionic button so hard it becomes amusing.) But there are nice little details and touches here and there ... and Vivian Vance. ["Champagne for everyone!" -- too bad she never got a scene where she could hover over the corpse of William Frawley with a gun in one hand and a champagne glass in the other.]
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