Leave Her to Heaven (1945)

Calificación de los usuarios:

7.7/10   

Director:

John M. Stahl

Escritores:

Jo Swerling (screenplay)
Ben Ames Williams (novel)

Fecha de Lanzamiento:

20 diciembre 1945 (USA)

Género:

Drama | Cine Negro | Suspenso

Frase comercial:

Hers was the deadliest of the seven sins.

Plot:

Richard Harland, a young writer, meets a beautiful woman, Ellen, on a train. They fall in love and are married...

Plot Keywords:

Writer | Jealousy | Train | Beautiful Woman | Love

Premios:

Won Oscar. Another 3 nominations

Comentarios de los usuarios:

Rainbow noir...

Reparto

Gene Tierney	...	Ellen Berent Harland
Cornel Wilde	...	Richard Harland
Jeanne Crain	...	Ruth Berent
Vincent Price	...	Russell Quinton
Mary Philips	...	Mrs. Berent
Ray Collins	...	Glen Robie
Gene Lockhart	...	Dr. Saunders
Reed Hadley	...	Dr. Mason
Darryl Hickman	...	Danny Harland
Chill Wills	...	Leick Thome
listado alfabético del resto del reparto:
Guy Beach	...	Sheriff (unconfirmed)

También conocida como:

Que el cielo la juzgue (Argentina) (Spain) [es]

Duración:

110 min

País:

USA

Idioma:

Inglés

Color:

Color (Technicolor)

Relación de Aspecto:

1.37 : 1

Sonido:

Mono (Western Electric Mirrophonic Recording)

Clasificación:

Singapore:PG | South Korea:12 | UK:U | Canada:PG (video rating) | Argentina:16 | Australia:PG | Finland:K-16 | Sweden:15 | USA:Approved (PCA #11042)

Locaciones de Filmación:

Bass Lake, California, USA

Compañía:

Twentieth Century-Fox Film Corporation

Trivialidades:

The famous (and dramatic) swimming scene that takes place in the lake for Darryl Hickman's character was in water so cold that the young actor caught pneumonia.

Errores:

Errores cometidos por los personajes (posiblemente errores deliberados por los cineastas): Ellen's method of scattering her father's ashes (flinging the urn from side to side during a horseback ride through the desert) would leave both her and the horse covered in her father's remains.

Citas:

Russell Quinton: I loved you. And I'm still in love with you.
Ellen Berent Harland: That's a tribute.
Russell Quinton: And I always will be. Remember that.
Ellen Berent Harland: Russ, is that a threat?

Conexiones de Película:

Referenced in "The Cosby Show: Elvin Pays for Dinner (#6.13)" (1990)

Banda de Sonido:

Nocturne, Op. 27, No. 2

Rainbow noir...

Can a film noir be effective in glorious colour or is that a contradiction in terms? Anyway I found this lesser-known thriller to be as exciting and involving as any other black-and-white-mean-streets scenario that the 40's threw up. Tightly plotted, well acted and above all, beautifully photographed, I was gripped from first to last. My only caveats might have been the "framing" device of Cornel Wilde's lawyer's top-and-tail introduction and epilogue, which just takes away a little of the dramatic tension, an over-intrusive musical score, particularly at Wilde and Tierney's first "strangers on a train" meeting and also the fact that more wasn't made of the conclusion of the otherwise tautly drawn crucial trial scene. The acting is top-rate, with no discernible weak links. Wilde, as the duped author, shows hidden depths to his handsome exterior, Crain, in a sub De-Havilland part modulates her performance winningly as her character's importance to the plot develops and Vincent Price is absolutely excellent as Tierney's abandoned fiancé, a lawyer on the make who convincingly destroys Wilde and Crain in his vengeful piece-de-resistance as the prosecuting counsel. What a shame he was later reduced to his stereotype cackling mad-man persona of seemingly dozens of horror films. He's a revelation here, almost stealing the movie in said trial scene where he's made to recite long pieces of staccato dialogue which he delivers pitch-perfect. Gene Tierney, of course, is enthralling in the pivotal role of the possessed / possessive Ellen, who uses her obvious beauty and sophistication to ensnare Wilde, before taking off into psychopath territory, which sees her effectively kill Wilde's disabled but adored younger brother and devise an almost perfect beyond-the-grave trap for Wilde and Crain to fall into. Great as all these pluses are, I keep coming back to the cinematography which captures like no other film I've ever seen tones of radiant beauty in almost every shot, both interior and exterior. In fact all I can say to finish is that I could find very little to fault this glorious but unheralded example of the golden age of Hollywood.