Taking up some of the stylistic traits of the film noir, this early-50s film is from London-born actor/director Ida Lupino, and — I admit this is of quite incidental interest to most people I imagine — casts a number of actors who are originally English, not that you’d spot it. In any case, Lupino plays the femme fatale role, although the insight of the film is that it’s not quite so simple to categorise the women as simply free-spirited sexual adventuress Phyllis (Lupino) and frigid careerist businesswoman Eve (Joan Fontaine), though this is how the film sets them up initially. The title character is Harry, played by the solidly-built but slightly shambolic Edmond O’Brien, and if there’s obviously no surprise about his predicament, perhaps that’s because it’s not really about him. Finding himself sidelined in his own business by his more talented wife Eve, he embarks on a new life with Phyllis in Los Angeles while on the job as a travelling salesman. Class is enfolded into the mix, as Phyl (for short) leads a precarious existence of short-term work and unstable living conditions and relationship status. And if Eve is the one who’s hard done by, there’s a strange bond between her and Phyl by the film’s close. It may finish with a moral pronouncement from on high (a literal judge in a courtroom), but the messy tangle of relationships promises to carry on beyond the film’s snappy running time.
SPECIAL SCREENING FILM REVIEW
Director Ida Lupino | Writers Collier Young, Larry Marcus and Lou Schor | Cinematographer George E. Diskant | Starring Edmond O’Brien, Ida Lupino, Joan Fontaine, Edmund Gwenn | Length 80 minutes || Seen at BFI Southbank (NFT3), London, Thursday 5 November 2015