A cut-rate Gilda starring a cut-rate Sonja Henie and featuring a cut- rate Desi Arnaz made by a third-rate studio. How could it not fail?
Well, actually, it doesn't. To be fair, Gilda was released in April of 1946 and this picture in June of that year. Normally, this would have been more than enough time for the "Old Monogram" to script, green- light, shoot, edit, and release two Gilda knockoffs. However, this was an offering from the emerging "New Monogram", and it is unlikely that this level of production value could be achieved in so short a time.
I am always suspicious of single-name actors (including Cher), but Belita is more than competent in her femme-fatale role--one of two in the picture. In fact, this film does Gilda one better in that regard. There are two intertwined sexual triangles here: an mmf triangle in the first half and an ffm triangle in the latter stages.
Barry Sullivan is easily the equal of the wooden Glen Ford and could probably have substituted for him in Gilda, perhaps relegating the latter to the TV guest-star career by robbing Ford of his big break. Fascist bigot, Eugene Palette, is always a pleasure to watch. (Sadly, it's true. He's always terrific.) Fortunately for the director, Suspense has an all-white cast and Palette was not asked to share screen time with a black actor.
All in all, it is an OK noir...about average and eminently watchable. (It gets an seventh star for just being noirish.)
P.S. Did anybody else notice that the incidental ice music is suspiciously close to the tune of Monte Python's "Galaxy Song" in Meaning of Life? I'm not suggesting plagiarism, but c'mon!
Well, actually, it doesn't. To be fair, Gilda was released in April of 1946 and this picture in June of that year. Normally, this would have been more than enough time for the "Old Monogram" to script, green- light, shoot, edit, and release two Gilda knockoffs. However, this was an offering from the emerging "New Monogram", and it is unlikely that this level of production value could be achieved in so short a time.
I am always suspicious of single-name actors (including Cher), but Belita is more than competent in her femme-fatale role--one of two in the picture. In fact, this film does Gilda one better in that regard. There are two intertwined sexual triangles here: an mmf triangle in the first half and an ffm triangle in the latter stages.
Barry Sullivan is easily the equal of the wooden Glen Ford and could probably have substituted for him in Gilda, perhaps relegating the latter to the TV guest-star career by robbing Ford of his big break. Fascist bigot, Eugene Palette, is always a pleasure to watch. (Sadly, it's true. He's always terrific.) Fortunately for the director, Suspense has an all-white cast and Palette was not asked to share screen time with a black actor.
All in all, it is an OK noir...about average and eminently watchable. (It gets an seventh star for just being noirish.)
P.S. Did anybody else notice that the incidental ice music is suspiciously close to the tune of Monte Python's "Galaxy Song" in Meaning of Life? I'm not suggesting plagiarism, but c'mon!
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