Fantasy comedy about Brazilian writer Oswald de Andrade, one of the most important icons of Modernism in Brazil. In the film, Oswald is played by two actors: Ítala Nandi, as his feminine ... See full summary »
Joaquim Pedro de Andrade
Juliana Carneiro da Cunha,
A married Broadway producer is taken with an innocent young woman who wants to be a writer and make it on Broadway. He decides to take her under his wing, but it's not long before the young lady is found dead in his apartment. At first thought to be a suicide, it is later discovered that she has been murdered, and suspicion immediately falls on the producer. He begins his own investigation in order to clear his name, and one of the first things he finds out is that the young woman wasn't quite as naive and innocent as she appeared to be.Written by
Nunnally Johnson originally offered the role played by Ginger Rogers to Tallulah Bankhead, who called the writer-producer and, in a 25-minute phone conversation, gave him her reasons for rejecting the role. Rogers turned the part down as well, but had a change of heart after Johnson sent her a letter asking her to reconsider, on the proviso that she could take the relatively minor role and make it into a star-turn. See more »
When leaving the police precinct, Iris Denver gets into a cab and her husband Peter tells the driver "67th and Fifth". In a prior establishing shot the precinct they're leaving is the 19th Precinct, located on 67th Street off Lexington Avenue. It's unlikely she would take a cab for a trip of just over three blocks. See more »
A Guilty Pleasure With A Strange Cast: Not Very Noir
I greatly enjoyed this Cinemascope, Stereo-Sound romp, but mainly as a Guilty Pleasure, as it's a film very much of it's time, with mismatched acting styles, lush, unbelievable sets, a central premise that doesn't make much sense (lending your expensive apartment to a just-met down-and-out writer while your wife's away),and an early attempt to make visual sense of the then-new wide-screen process.
Why do I like it? Ginger Rogers is way over the top, popping on and off screen with snappy diva one-liners, like Margo Channing on pep pills; Peggy Ann Garner plays a subversive Lolita, crazy-seductive and irresistible, and you can even spot Aaron Spelling towards the end in a bit part as a theatre employee.
The palette is loaded with pastel colors so popular in the 1950's, and the whole thing is sort of a mild domestic whodunit whipped up into an anemic Douglas Sirk confection. Great it ain't, but because of Rogers, Van Heflin, Gene Tierney (who has very little to do but does it beautifully) and Reginald Gardner, I found it greatly entertaining.
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