- Acting of Lead Performers
- Acting of Supporting Cast
- Music Score
- Title Sequence
- Historical Importance
- Would You Recommend?
0 Member Ratings
NO REVIEWS AVAILABLE
The title has not been reviewed. Be the first to write a review by clicking here to start.
- kevin sellers
As noted by previous reviewers the star of this noir is director Robert Siodmak, one of the finest of the "creepy, menacing," black and white school of 40s film making. (i.e. "The Killers," "The Spiral Staircase") Fairly positive it was his idea to direct Elisha Cooke as a sexually depraved drummer, and that wonderful sequence, when Ella Raines is stalking and then confronting the guilt haunted bartender, is a masterpiece of shadowy pacing, as the camera moves from bar to elevated train (where the bartender attempts but fails to kill Raines) to street, (where he meets his own end.) Such stuff lingers in the mind long after the details of Bernard Schoenfeld's overly plotted, not very credible screenplay fade from consciousness. (i.e. How could Franchot Tone board a ship and then disembark without anyone noticing his absence on the voyage?) As for the acting, it's mostly good, with Cooke wonderful as always when playing a nervous lunkhead, Regis Toomey excellent as a smarmy detective, Franchot Tone quite believable as Evil with a twitch (although, as one reviewer hinted, the twitch is, dare I say it, a bit exaggerated?) and Thomas Gomez an interesting mixture of hard-nosed and sympathetic. Where I part company with most of the reviewers is in evaluating Raines' performance. I like her best when she's not talking. Her staredown of the bartender was perfect. And her scenes with Cooke, when she channels her inner slut, were also fine. Unfortunately, when called upon to express fear or anger she leaves the scenery in tatters. Indeed, a more restrained performance from her would have gotten this film a higher grade. As it is, let's give it a B.
Classic film noir
- Esar Shvartz
A magnificent stylish noir directed by Robert Siodmak played to the hilt by Ella Rains. The photography and moody atmosphere are a delight for any noir lover.
A Great Film Noir
- John McGowan
In my opinion this is one of the best of the early American film noirs. I liked the nuances of th film from the gum chewing detective played by Regis Toomey to the fidgety bartender harboring a secret. But the film belongs to Ella Rains who should have gone on to stardom but for some reason never reached that height. In the scene when she was trying to cull information from Elijah Cook Jr. she was sensational in that she departed from her discreet love for Alan Curtis( the accused) to a gum chewing vamp trying to lure Cook into giving up information. Franchot Tone pulled off a creepy character and Thomas Gomez as the retired cop trying to help Rains was equally believable. Also the scene at the subway platform when the bartender is just about to push Rains was very realistic.
Who done it?
- Connie Smith
A real "nail-biter" and suspenceful film. Great camera work and chilling street and alley scenes. No current movies have us on the edge of our seats like these great black and white movie thrillers from the 1940's and 1950's.
- william gauslow
Good movie. Whoever assembled the character that Tone played really failed. I like Francot Tone, but he SUCKS in this movie.
Phantom Lady (1944)
- Jay Higgins
Brilliant film noir, Ella Raines and Elisha Cook Jr. are magnificent, both in their best roles ever. The photography is outstanding, superb direction. I one of a kind film that is unforgettable.
- alan melzak
A taut nerve-tingling movie from director Robert Siodmak. Based on the claustrophobic novel by Cornell Woolrich
Ella Raines should have won an Oscar!
In this classic film noir, Ella Raines doesn't play the title character, but rather engages in a search for her. The phantom lady can help clear Ella's boss of the murder rap he's rotting away in jail for committing. Ella Raines' performance in this movie is as good as any Oscar-winning performance from the 40's. And the film itself is deliriously good. Especially of note: probably the most sexually charged scene ever made during the Hays Code era, when a young Elisa Cook, Jr. is playing drums in a jazz combo (sound courtesy of Buddy Rich!) and Ella's character acts out feelings of repressed sexual attracting threatening to explode all over him. Her secret, of course, is that she has no interest in him, but rather the key information he may hold about the Phantom Lady.