IMDb RATING
7.2/10
5.9K
YOUR RATING
A devoted secretary risks her life to try to find the elusive woman who may prove her boss didn't murder his selfish wife.A devoted secretary risks her life to try to find the elusive woman who may prove her boss didn't murder his selfish wife.A devoted secretary risks her life to try to find the elusive woman who may prove her boss didn't murder his selfish wife.
Aurora Miranda
- Estela Monteiro
- (as Aurora)
Harry Adams
- Courtroom Spectator
- (uncredited)
Robert Bain
- Guitarist
- (uncredited)
Joan Bayley
- Dancer
- (uncredited)
Brandon Beach
- Theatre Party Guest
- (uncredited)
Brooks Benedict
- Theatre Party Guest
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaAlthough Franchot Tone is given top billing in this film, he does not appear for the first 45 minutes.
- GoofsDuring an overhead shot in the sequence where Kansas trails the bartender through a deserted street after he gets off work, the actors are clearly connected waist-to-waist by a thin wire - most likely so that the actress stayed an exact number of feet behind the actor to ensure both were in focus during what was apparently a tricky camera set-up.
- Quotes
Cliff: You and I are going to have fun tonight, Jeannie! You like jive?
Carol Richman: You bet! I'm a hep kitten!
- ConnectionsFeatured in CSI: Crime Scene Investigation: A Night at the Movies (2003)
- SoundtracksI'll Remember April
(uncredited)
Music by Gene de Paul
Lyrics by Patricia Johnston & Don Raye
[played during opening credits and throughout the movie]
Featured review
Film students and fans of film noir always hear about PHANTOM LADY and now that I've seen it I'm inclined to report that it's overrated. Though the premise is initially intriguing, it quickly accumulates so many plot holes that you instantly figure out who the murderer is. But this is an exercise in style, not content. Director Robert Siodmak saved the film by giving visual distinction to a poor script.
His training in the German Expressionist style makes for very striking images thoughout despite the low budget: dramatic contrasts between light and dark with simple, strong lighting effects never fail to provide interest and tension. And he goes a long way in suggesting the ethnic and racial mix of New York City in 1944 by his offbeat choice of extras and supporting players, most of whom are not the types you see in movies of the time. And the set of sculptor Franchot Tone's apartment complete with furniture and busts would be the envy of many a Soho or Tribeca resident in 2004.
In the lead, Ella Raines looks rather like a poor man's Gene Tierney. She is attractive and likable and you have no trouble maintaining interest in her, but she doesn't have much acting range, at least at this point in her career. Franchot Tone does a very professional job in an impossibly sketchy and ludicrous part, and Thomas Gomez is okay as the detective. As the wronged man, Alan Curtis provides his own visual interest via a strong jaw and broad shoulders, and an occasional hint of surliness makes his character more interesting.
But as others have indicated here, the single most surprising and effective scene is one where horny drummer Elisha Cook, Jr. takes Ella Raines to an after hours dive to show her what he's made of. Equating jazz and especially drumming with hot sex, Siodmak cross cuts between Cook's orgasmic frenzy at the drums (complete with a closeup insert of his crotch) with Ella seemingly transported as well, giving him the come-on, urging him to climax. It's the most overtly sexual scene I've ever seen in a '40s film and it's one you shouldn't miss.
His training in the German Expressionist style makes for very striking images thoughout despite the low budget: dramatic contrasts between light and dark with simple, strong lighting effects never fail to provide interest and tension. And he goes a long way in suggesting the ethnic and racial mix of New York City in 1944 by his offbeat choice of extras and supporting players, most of whom are not the types you see in movies of the time. And the set of sculptor Franchot Tone's apartment complete with furniture and busts would be the envy of many a Soho or Tribeca resident in 2004.
In the lead, Ella Raines looks rather like a poor man's Gene Tierney. She is attractive and likable and you have no trouble maintaining interest in her, but she doesn't have much acting range, at least at this point in her career. Franchot Tone does a very professional job in an impossibly sketchy and ludicrous part, and Thomas Gomez is okay as the detective. As the wronged man, Alan Curtis provides his own visual interest via a strong jaw and broad shoulders, and an occasional hint of surliness makes his character more interesting.
But as others have indicated here, the single most surprising and effective scene is one where horny drummer Elisha Cook, Jr. takes Ella Raines to an after hours dive to show her what he's made of. Equating jazz and especially drumming with hot sex, Siodmak cross cuts between Cook's orgasmic frenzy at the drums (complete with a closeup insert of his crotch) with Ella seemingly transported as well, giving him the come-on, urging him to climax. It's the most overtly sexual scene I've ever seen in a '40s film and it's one you shouldn't miss.
- tjonasgreen
- Apr 3, 2004
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Details
- Release date
- Country of origin
- Languages
- Also known as
- Condemned to Hang
- Filming locations
- Production company
- See more company credits at IMDbPro
- Runtime1 hour 27 minutes
- Color
- Aspect ratio
- 1.33 : 1
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