For a British film noir with a far from famous cast, I have to say that the quality of BEFORE I WAKE (SHADOW OF FEAR in the UK) really amazes me, beginning with impeccable direction by Albert Rogell, who manages to keep the spectator on edge with Mona Freeman and Jean Kent appearing on the screen almost nonstop, engaging in razor-sharp dialogue. I liked the fact that Freeman never hid her suspicions about the former nurse now running the house that used to be hers, where everything has been changed, and former personnel dispatched since Freeman's departure to California.
Rogell extracts superb performances from the female leads (Jean Kent is truly memorable in her subtle evil; Maxwell Reed's name comes in second in the credits, but he has a far shorter and less significant part than the two women).
The action is so riveting that I was desperate to see what would happen in the end, as fate seems to stack things up against Freeman, who has already lost her parents very likely under Kent's murderous hand.
Reminiscent of REBECCA, with a house and inheritance at the heart, and exchanges reminiscent of the Joan Fontaine-Judith Anderson duel in the Hitchcock film. Naturally, Reed is no Olivier and Freeman no Fontaine (she is also clearly older than 20), but Kent is not the inferior of Anderson in this part.
Fit depiction of how small town gossip can turn locals against one, and tar one's good name, even one's mental condition.
Wonderful cinematography. Strongly recommended to anyone interested in film noir.
Rogell extracts superb performances from the female leads (Jean Kent is truly memorable in her subtle evil; Maxwell Reed's name comes in second in the credits, but he has a far shorter and less significant part than the two women).
The action is so riveting that I was desperate to see what would happen in the end, as fate seems to stack things up against Freeman, who has already lost her parents very likely under Kent's murderous hand.
Reminiscent of REBECCA, with a house and inheritance at the heart, and exchanges reminiscent of the Joan Fontaine-Judith Anderson duel in the Hitchcock film. Naturally, Reed is no Olivier and Freeman no Fontaine (she is also clearly older than 20), but Kent is not the inferior of Anderson in this part.
Fit depiction of how small town gossip can turn locals against one, and tar one's good name, even one's mental condition.
Wonderful cinematography. Strongly recommended to anyone interested in film noir.