Angela (1954) Poster

(1954)

User Reviews

Review this title
3 Reviews
Sort by:
Filter by Rating:
4/10
Moral of the story? Never hide a body for anybody, no matter how desirable she is!
mark.waltz29 December 2017
Warning: Spoilers
Cheaply made but interesting (if cliched and predictable), this English/Italian film noir features Dennis O'Keefe as an American car manufacturer in Italy brought into the drama world of Sophia Loren/Gina Lollobrigida lookalike Mara Lane and lives to regret it. She romances him after making a car purchase for her boss, and when her older employer is found dead in her apartment, he agrees to get rid of the body for her. But getting rid of a heavy corpse isn't easy, especially when you're distracted by friends, security guards at your place of business and a jealous estranged husband of the alluring Lane. Another murder takes place, causing O'Keefe to be questioned, and leading to traps that would drive a man to murder.

Yes, this plot is convoluted, and the less you know, the easier it is to follow. Lane is alluring and gives many dimensions to the character, but perhaps not earthy enough to fully convince as an Italian sex goddess. O'Keefe is the usual dumb American middle aged male (although more virile than most cast in these often re-utilized plots) and Rossano Brazzi dangerously sexy as the estranged hubby. There's some decent use of location footage and a few clever moments, but it allows itself to wrap up too easily, not believing in the intelligence of its audience who will probably figure out early on exactly what's in the kind of it's antagonist and want to slap some sense into the dumb but too distracted by sex O'Keefe who should know better.
2 out of 2 found this helpful. Was this review helpful? Sign in to vote.
Permalink
2/10
Double Indemnity - Italian Style
Waiting2BShocked26 March 2008
A definite B-grade revisiting of 'Double Indemnity'. Of chief interest is the plenty of reasons why this could have been made in Italy, none of which seem particularly savoury today.

This entry drops Wilder's film's cynicism, malice and ambiguity in favour of some admittedly brooding atmosphere. This however also carries the weight of an unfortunately extraneous voice-over.

Starlet Lane can do posing sultriness to be sure, but as a femme-fatale her complexities are insipid to say the least. Considering the Italo-connection, the men's tough-guy antics aren't in the least threatening, and the whole affair lacks much-needed dollops of passion.
4 out of 7 found this helpful. Was this review helpful? Sign in to vote.
Permalink
8/10
Merits 8! Simply great!
JohnHowardReid22 August 2017
Warning: Spoilers
Associate producer: Augusto Fantechi. Producer: Steven Pallos. Filmed at the studios of the Centro Sperimentale, Rome, Italy.

Copyright 1955 by Patria Pictures. U.S. release through 20th Century-Fox: April 1955. New York opening at the Palace: 3 June 1955. U.K. release through Independent/British Lion: 7 November 1955. Australian release through 20th Century-Fox: 21 February 1957. 7,281 feet. 81 minutes. Cut to 73 minutes in Australia.

COMMENT: A neat story, surprisingly competent direction, fine photography by Barboni and a hauntingly atmospheric music score by Nascimbene combine to make an exciting thriller, which, oddly in view of its superb entertainment qualities, seems to have disappeared. It was never played on any of my local TV networks and, as far as I know, there is no DVD version.

Mara Lane is appropriately seductive as the femme fatale of the title, while both Rossano Brazzi (playing a heavy, would you believe) and Arnoldo Foa make brief but effective appearances.

O'Keefe holds up the main role very ably. As co-author (under the pseudonym, "Jonathan Rix") of the screenplay, he keeps himself in front of the camera for the entire length of the movie — and he narrates the story off-camera too! As co-director (actually, he is credited as sole director on all English-language prints, whilst Anton receives a similar solo credit on the Italian version), he no doubt directed himself and the other English-speaking players (Lane and Brazzi), and supervised the dubbing of the others. Anton, of course, would have handled the Italian cast and maybe the general mise-en-scène. Certainly natural locations are adroitly utilized throughout. Other credits are equally first-rate.
1 out of 2 found this helpful. Was this review helpful? Sign in to vote.
Permalink

See also

Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews


Recently Viewed