Also known as: The Woman In Red (working title)
Release Date: November 8th, 1945 (New York City premiere)
Directed by: Joseph H. Lewis
Written by: Muriel Roy Bolton
Based on: The Woman In Red by Anthony Gilbert
Music by: Mischa Bakaleinikoff
Cast: Nina Foch, Dame May Whitty, George Macready, Roland Varno, Anita Sharp-Bolster, Doris Lloyd, Joy Harington
Columbia Pictures, 65 Minutes
“Don’t huddle way over there in the corner. You should sit closer so that people can see what a handsome couple we are!” – Ralph Hughes
The Criterion Channel finally launched, which is great after the void left behind by FilmStruck being shut down last November. With that, they featured a collection of films called “Columbia Noir”. This got me excited, as I haven’t seen much of Columbia Pictures’ noir films. The first in that collection was this one, a film I hadn’t heard of before.
Overall, this is a b-picture with a scant running time. That was pretty typical of some noir features from the time, as the crime genre was at an all-time high and studios were throwing together as many films on the cheap as possible. Sometimes these became hits and sometimes they floundered but with lesser known stars and thin budgets, they were quick and easy to produce without much financial risk.
It’s pretty apparent from the opening bell that this film-noir is a cheapy but that doesn’t mean it’s bad. It had pretty good production value, at least on the surface. The filmmakers got a solid bang for their buck in regards to how the film looks on screen.
Now the cinematography and lighting aren’t memorable but they are better than what was the standard for b-movie noirs.
The film stars Nina Foch, who isn’t known very well, but she did hold her own and came off as convincing. The acting was better than average, here, and the director did a fine job of making the players shine within this little picture.
This isn’t a very exciting noir, though. In fact, it’s pretty forgettable.
The story is about a young woman who gets hired by an employment agency run by a nosy, rich widow. The woman moves into the widow’s home but then wakes up in another house entirely. It’s an interesting setup and provides a good framework for a solid mystery but nothing really hits in the right way.
The film is probably most notable for being director Joseph H. Lewis’ first film-noir picture. He would go on to direct The Falcon In San Francisco, So Dark the Night, The Undercover Man, the incredible Gun Crazy, A Lady Without a Passport, Cry of the Hunted and The Big Combo.
Pairs well with: other film-noir pictures by Columbia: So Dark the Night, Nightfall and Pushover.