Détails sur le produit
Conversations avec Robert Siodmak (1971 - N&B - 60')
Descriptions du produit
Description du produit
Phantom Lady, 1 DVD, 83 minutes
Dans un bar, Scott Henderson, ingénieur, rencontre une belle inconnue et l'invite au music-hall. Celle-ci accepte, à condition de ne pas révéler son identité. De retour chez lui, Henderson trouve sa maison pleine de policiers et sa femme étranglée. Suspecté, il tente de retrouver la trace de l'inconnue avec l'aide de l'inspecteur Burgess...
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With a great story line of a man sitting on death row while his friends race to find evidence of his innocence, Siodmak really produces the goods in this film. One sequence, in particular, the jazz jam session, is as close to a sex scene as film makers could go in those days. The scene alone puts this film in the master class. Great cinematography, some good acting and briliant direction add up to one of the best film noirs in circulation.
Cornell Woolrich was a master storyteller of New York tales about people trapped within the clutches of the big city, battling tenaciously for survival. Woolrich gave us perhaps the number one voyeuristic film in cinema annals with Hitchcock's "Rear Window." His story thrust of "Phantom Lady" is one of a crafty and elegantly beautiful woman's determined efforts to prove that the man she loves is innocent of the charge of murder, for which he has been tried and convicted. Ella Raines operates with burning conviction and speedy determination as she battles the clock, which is ticking down toward the murder execution of the man she loves, played by Alan Curtis.
The "phantom lady" of the title is Fay Helm, who meets Curtis at a Manhattan bar. He is distraught over a wrong turn in his marriage and quickly learns that she is even more forlorn than himself. Curtis has an extra ticket to a hit Broadway musical and he is able to finally entice her to attend it with him. After that they part. When he returns to his apartment the police are there, revealing that Curtis's wife has been murdered by strangulation.
For a while the film shapes up as a grand mystery as Raines continues searching frantically for Helm, who can account for Curtis's time while his wife was being murdered, but eventually it shapes up as a microscopic look at a brilliant, megalomaniacal killer when Franchot Tone turns up. A famous sculptor who has worked with Curtis, who is an architectural engineer, Tone masquerades as a friend of Curtis's who is actually planning to stand by and let him be executed for a crime Tone committed. One of the most interesting scenes of the film is the psychological banter between Tone and the investigating police officer who explains that psychologically disturbed people commit the kinds of murders as that visited upon Curtis's wife. An edgy Tone insists that normal people commit such crimes, people who are pushed to the brink of frustration.
Tone was never better. The camera closes in for brilliantly revealing shots of a man immersed in desperation. Revealing closeups also demonstrate the frustration and frequent despair of Curtis as a man falsely convicted and close to execution for a crime he never committed and the determination of Raines, who never looked more beautiful, as she fights to save the life of the man she loves.