THIS WOMAN IS DANGEROUS
US, 1952, 97 minutes, Black and white.
Joan Crawford, David Brian, Dennis Morgan, Mari Aldon, Phil Carey.
Directed by Felix Feist.
This Woman is Dangerous is definitely a Joan Crawford vehicle from her middle-age period. She has glamour and class - but is revealed to be a criminal. The film obviously relishes the ambiguity of Joan's stances - and her reform. She is once again teamed with David Brian (Beyond the Forest) and has Dennis Morgan as a sympathetic doctor in the Dark Victory style. There is a competent supporting cast. Production values are excellent and the film has the Warner Bros, technical gloss. The Monthly Film Bulletin says that it does not have the outlandish thrills that a Crawford vehicle needs - but is of interest to students of her career. With Faye Dunaway's impersonation in Mommie Dearest, Joan Crawford's personality and career received a new boost.
1. Entertainment value of Joan Crawford vehicles? The popularity in the '40s and '50s? Her screen image? The good girl, the bad girl - class (even in middle age)? Joan Crawford as a Hollywood figure?
2. Production values: black and white photography, editing and pace, action and romance? Romantic score?
3. Audience acceptance of the genre and the characterisations? The conventions of romance, the ailing heroine, her being treated by the doctor, her recuperation and convalescence? The interplay of her criminal background, jealousy, the law? How well presented? Hollywood style?
4. The plausibility of the plot: Joan as a criminal, her work with the gang, the pursuit by the police? Her going blind? The chances for the success of the operation? Her chances of falling in love with the doctor? The final melodramatics - death, revelations to the police, F.B.I., lenience? American values and dreams?
5. Joan Crawford's screen presence? The credibility of her characters? Her strong presence, glamour? Beauty? The opening for audience sympathy with the test of her eyes and her going blind? The possibilities for the operation and its success? The revelation that she is a criminal? Her style with the gambling and the bank account? Her covering her tracks? Relationships with the Jacksons? Matt's obsessive love for her? Her feelings of gratitude towards him? Her control? Disappearing? The tension ~ black and white lighting dramatising the difficulties of the blindness? The operation, her convalescence? The ambiguity of the phone calls and her anxiety? The dates with the doctor and her falling in love? Domestic Joan and the doctor's daughter? The possibility of marriage? The pursuit by Matt? The pursuit by the police? Growing tension? The operation and the melodramatics - her putting her life on the line for the doctor? The finale and her receiving a lenient treatment by the F.B.I.?
6. Matt as jealous criminal? Participation in the plans, the robberies - and the effectiveness of the disguise as police and the robbery? Escape? Held up by police? Holed up in the caravan? Clashes with Will? with Ann? The phone calls, the visit? Suspicions? The credibility of Matt's obsession? The confrontation with the doctor? The melodramatics of the operation and his literally smashing death?
7. Will and Ann and their participation? Criticisms? Ann and her support of Beth? Will as the petty criminal?
8. Dennis Morgan and his charm as the doctor? Bedside manner? Successful operation? The outings? The lectures? His daughter and bringing Beth home? The impact of his visit to the prison - and its effect on Beth waiting in the car and her memories of her own time in prison? The operation, danger to his life, accepting death as she is?
9. The picture of the police and their interrogations, tapping phones etc.? The work of the F.B.1.?
10. The flavour of the hospital - doctors, nurses, operations, convalescence?
11. The action sequences? The nicely timed robbery? The pursuit of the police and interrogations?
12. Romantic themes - the material of the classy novelette?
