`Always leave them wanting more' is one of the hoary axioms of show business, but why there isn't more of Lady Scarface in Lady Scarface is a better mystery than anything the movie has to offer. The title role, a tough Chicago mob boss, falls to Judith Anderson, who more often than not was the best thing in any movie where she happened to appear (e.g. her Mrs. Danvers in Alfred Hitchcock's Rebecca). Title character or no, she takes second billing to Dennis O'Keefe as a minion of the law pursuing her; the billing accurately reflects the screen time each is allotted.
It's a pity, since, apart from Anderson, Lady Scarface is just another print struck from the template of light crime programmers. The bulk of the movie has to do with O'Keefe's following money to New York in order to smoke out the gang. And, to cover all the bases, there's mistaken identity involving a newlywed couple; comic relief in the form of a beef-witted hotel detective and fussy Eric Blore; and a matey romance between O'Keefe and Frances Neal.
But Anderson took her assignments seriously; she brings the same steel to Lady Scarface as she would later to Lady Macbeth. (The movie could have settled for a lesser villain, and Anderson should have held out for a better movie.) The last scene, in which she steals into the Leonard Sheldon Hotel disguised as a chambermaid, looks very much like the final confrontation between James Bond and Rosa Klebb in From Russia With Love. Was that an hommage, or just a steal?
It's a pity, since, apart from Anderson, Lady Scarface is just another print struck from the template of light crime programmers. The bulk of the movie has to do with O'Keefe's following money to New York in order to smoke out the gang. And, to cover all the bases, there's mistaken identity involving a newlywed couple; comic relief in the form of a beef-witted hotel detective and fussy Eric Blore; and a matey romance between O'Keefe and Frances Neal.
But Anderson took her assignments seriously; she brings the same steel to Lady Scarface as she would later to Lady Macbeth. (The movie could have settled for a lesser villain, and Anderson should have held out for a better movie.) The last scene, in which she steals into the Leonard Sheldon Hotel disguised as a chambermaid, looks very much like the final confrontation between James Bond and Rosa Klebb in From Russia With Love. Was that an hommage, or just a steal?