★ 7 / 10
The Black Widow, deadliest of all spiders, earned
John Chard
The Black Widow, deadliest of all spiders, earned its dark title through its deplorable practice of devouring its mate. The Black Widow, deadliest of all…
The Black Widow, deadliest of all spiders, earned its dark title through its deplorable practice of devouring its mate.
The Black Widow, deadliest of all spiders, earned its dark title through its deplorable practice of devouring its mate.
Black Widow is written and directed by Nunally Johnson. It stars Ginger Rogers, Van Heflin, Gene Tierney, George Raft, Peggy Ann Garner and Reginald Gardiner. Music is by Leigh Harline and cinematograpgy by Charles G. Clarke.
A young writer insinuates herself into the life of a Broadway producer – with dire consequences…
A CinemaScope/De Luxe colour production out of 20th Century Fox, Black Widow flirts with the boundaries of colour film noir. Heflin is the Broadway producer who has his world turned upside by what at first we think is a femme fatale, only the pic isn’t as straight forward as that. In fact, the title is a bit of a bum steer for this is not about some male murdering femme fatale, quite the opposite in fact, so expectation of that will only cause disappointment.
Essentially this ends up as a who and why done it? And for the most part the pic holds the attention as the narrative pitches Peter Denver (Heflin) as the Broadway producer frantically trying to prove himself innocent of a murder. Cards are kept close to the chest as Johnson’s screenplay drips suspicion into the play at various points. We the audience are forced into questioning the manoeuvres of the lead protagonists, which gains momentum once Raft’s Detective Bruce starts investigating the case. However, some have cried out that the revelation was too easy to spot, maybe so if one is so desperate to do so, but of course we do hear this a lot from folk not happy with the film they have watched. Personally, I didn’t see it coming, but conversely, I was personally disappointed with the reveal. So, there you go, roll the dice and take a chance with it really.
Tech aspects are hit and miss. The CinemaScope format doesn’t quite work here, given that most of the play is performed in apartments. When it comes to the cityscapes of New York – and the framing of characters within them – it’s a treat, especially as Clarke’s colour lenses are splendid, but Johnson the director doesn’t appear to get a handle on the format. Acting is also an interesting parade. Heflin is great, draws you into his “on the run to clear my name” malarkey with conviction, while Rogers is having a blast as the waspish lead lady with delusions of grandeur. Raft is a one note let down in a “for the money” role, and Tierney (sadly getting closer to succumbing to her mental health problems) is poorly written and Gardiner likewise. Garner (stepping in when Maggie McNamara fell ill) is fine, slinky and suspiciously delicate, but the course of the story leaves us short of more from her.
As a whole? it’s a mixed bag, but definitely it’s on the good side of good, particularly for Heflin and Rogers fans and for those of a noir persuasion. 7/10
★ 8 / 10
this sweet young girl is everything you think she isn't
rose_lily
This is a neat little crime movie in a minor key. Nunnally Johnson's script is basically a linear, expository narrative, the plot building and unfolding…
This is a neat little crime movie in a minor key. Nunnally Johnson's script is basically a linear, expository narrative, the plot building and unfolding without the diversion of tacked on flourishes. The production, in fact, would have benefited from the addition of "noir-ish" elements to amp up the tension and suspense level as this is a visually unengaging film. Both the cinematography and lighting are unimaginative and flat. The camera functions as a static eye invariably positioned as if photographing a stage play. This lack of dynamism extends to the lighting, which captures every scene in full-lit monotone, without contributing any nuance of character or mood. A Ginger Rogers older than we are accustomed to seeing her, looks aged and brittle. She plays Carlotta Marin, an applauded stage diva lording in regal dominance over her domain. Her wan, defeated husband, Brian Mullen, portrayed by Reginald Gardner, endures all, only too well aware that he plays lackey to his domineering wife. He defines himself as a "hitchhiker" along for the ride, an impotent passenger seated in his wealthy wife's glory train. Van Heflin puts out a good performance as the successful Broadway producer Peter Denver, contending with his volatile, demanding star "Lottie" Marin. Gene Tierney, as Iris, Heflin's wife, is delegated to the background, given little to do in the movie other than serve as the understanding, patient helpmate. Enter the seemingly naïve waif, Nancy Ordway, played by the former child actress Peggy Ann Garner, who engineers to insert herself into this mix of the Broadway elite. She announces her ambition to be a famous writer but this is far from her real agenda. She's a manipulating, conniving little gold digger and none of these worldly Manhattan sophisticates can even sniff out her game. This is where the logic of the plot unravels. Wouldn't someone with the professional stats and savvy of a Broadway big-shot producer like Peter Denver scope out a conniver like Nancy? The gullibility level of this crowd is to a one
an improbability. George Raft, as the voice of the law, Det. Bruce, is not given much to do but play the authoritative investigator. All in all, the movie no great event, still provides an hour or so of agreeable entertainment.
57%
AUDIENCE
· 250 ratings
6.7/10
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i love it