User reviews

There have frequently been two main reasons for seeing any film etc. One is the cast, so many films have a cast full of very talented actors that promises already so much. The other is if the story/premise itself sounds very interesting on paper. 'The File on Thelma Jordan' is another one of many examples to have both those things. Am also a great admirer of Barbara Stanwyck, and saw it also to see as many of her films not yet seen as possible.

On the most part, 'The File on Thelma Jordan' is pretty impressive with a lot of great things going for it. If it had a better male lead and had a tighter pace to begin with, there was a lot of potential for it to be great. It just falls short of that but the good things are many and those good things are actually excellent. It really helps that we have such a great actress excelling in a role that plays to her considerable strengths and that we have a director that was experienced in this type of film.

Am going to start with those good things. First and foremost, Stanwyck. She is absolutely marvellous here, she has a real allure and at times vulnerability but is also very steely and evokes chills. The supporting cast play their parts very well, even if none are quite on the same level as Stanwyck. Stanley Ridges especially comes over well. As does Robert Siodmak (who has done quite a lot of good films, especially 1946's 'The Killers'), showing a lot of flair and eye for detail and atmosphere.

Visually, 'The File on Thelma Jordan' looks great. The photography is both gorgeous and atmosphere-filled. The lighting is suitably moody and the production design is suitably elaborate. Victor Young's score looms ominously in all the right places. The script is sharp and thought probing and the story has suspense and surprising grit. It is also not hard to follow without being simplistic.

Wendell Corey was less good though in my view. Found him a bit too meek and anaemic in a role that too often goes overboard on the passiveness. He has a little more chemistry with Stanwyck than what was seen in 'The Furies', but it doesn't quite fire enough on all cylinders. It's competent but under-explored.

Pace wise, it could have been tighter in the early stages and takes too long to get going. While the ending is a surprise, it could have been handled with more subtlety.

Overall though, it is worth watching. 7/10

The Assistant District Attorney Cleve Marshall (Wendell Corey) has an unhappy marriage with his wife Pamela Blackwell Marshall (Joan Tetzel) due to the interference of her father, Judge Calvin H. Blackwell (Minor Watson). He decides to drink in his office after hours instead of going to the birthday party of Pamela. Out of the blue, a woman named Thelma Jordon (Barbara Stanwyck) arrives at the office looking for Cleve's boss to report an attempt of robbery of her wealthy Aunt Vera Edwards (Gertrude W. Hoffman) and she ends the night drinking and dancing with Cleve in a restaurant. Soon they have a love affair and Cleve falls in love with Thelma. But he does not know anything about the past of the mysterious Thelma. When Aunt Vera is murdered at home, Thelma calls Cleve to help her since she would be the prime suspect of shooting her aunt. He covers up the evidences that might link Thelma to the death becoming her accomplice and is assigned to be the prosecutor of her judgment. What will happen to Thelma and Cleve?

"The File on Thelma Jordon" is a fine film-noir directed by the master Robert Siodmak. Barbara Stanwyck performs the typical femme fatale, seducing the assistant DA Cleve Marshall and destroying his life. The moralist conclusion could have been better but the film is worthwhile watching. My vote is eight.

Title (Brazil): "A Confissão de Thelma" ("The Confession of Thelma Jordon")

From her first entrance, Stanwyck kept me captivated by her performance in this film. There is something about her that draws you in and holds you. You know there is more to her than meets the eye - but you're not sure what exactly.

I have always admired Stanwyck. She was born Ruby Stevens, a Brooklyn girl that worked for a phone company and then became a chorus girl, before finally going to Hollywood to chase her dreams. She was nominated 4 times for an Oscar for Best Actress ("Stella Davis", "Ball of Fire", "Double Indemnity", "Sorry ,Wrong Number") but never won - except for an Honorary Oscar near the end of her life. She was considered a gem to work with for her serious but easy going attitude on the set (unlike many of her contemporary peers). This makes me like her even more!

I thought the cinematography in this film was outstanding. I loved the elaborate sets and and set decorating.

The plot kept me intrigued as well. Corey plays the perfect fall guy for Stanwyck. His average looks and dull exterior tend to make you feel sympathetic for this guy. Some have commented that they didn't have much chemistry together. I agree that they are an unlikely couple, but it helps you see how he could get so caught up in her and be willing to sacrifice so much. She was obviously outside his league.

There are some nice twists and turns in the plot that will keep you interested - especially at the end. It's worth a watch.

The File On Thelma Jordon turns out to be an extensive one indeed. Had Wendell Corey examined it more fully he might never have gotten into the jackpot he did.

A lot of critics compare this film with that other Stanwyck classic, Double Indemnity. There are certainly elements of that story in The File On Thelma Jordon. But I also see a lot of resemblance as well to the Dick Powell-Lizabeth Scott-Jane Wyatt noir film, Pitfall. If you've seen that one it involves a married, but bored Dick Powell casually drifting into an affair with Lizabeth Scott and getting sucked into some criminal enterprise. Joan Tetzel steps into the role of the wronged wife and was every bit as good as Jane Wyatt was in Pitfall.

One desultory night as Wendell Corey is working late and getting helped along with a little libation, in pops Barbara Stanwyck to the District Attorney's office to complain about the lack of action the police have been giving to her complaints about someone trying to break into her house where she and her elderly aunt live. Corey's state of inebriation seems to be loosening any moral restraints and Barbara leaves him hooked and begging for more.

So when the elderly aunt is in fact murdered, Corey doesn't think like an officer of the court, but instead he's using the gray cells in his male member to make decisions. He winds up prosecuting Stanwyck and paying for high priced defense attorney Stanley Ridges on the side. By the way Ridges is one shrewd article and suspects what's up, but keeps his mouth shut.

Paul Kelly is in the Edward G. Robinson role as another member of the District Attorney's office who realizes this case has far more layers to this than originally thought.

The film is definitely one that should satisfy Barbara's legion of fans.

The File on Thelma Jordon is directed by Robert Siodmak and written by Ketti Frings and Marty Holland. It stars Barbara Stanwyck, Wendell Corey, Paul Kelly, Joan Tetzel, Stanley Ridges and Richard Rober. Music is by Victor Young and cinematography by George Barnes.

Assistant district attorney Cleve Marshall (Corey) falls for Thelma Jordon (Stanwyck) after she seeks help solving a problem with prowlers and burglars. But is there more to Thelma than meets the eye?

Probably due to availability issues in home viewing formats, this appears to be one of film noir legends Siodmak and Stanwyck's under seen pictures. Which is a shame, for although it is often tagged as something of a lesser value Double Indemnity, it's a noir that noir lovers can get great rewards from.

As we are in noirville the plot isn't at all surprising. Stanwyck fronts up for what we expect is femme fatale duty, Corey looks to be on course for being a hapless loser dude, Kelly is up for some tough copper portrayal, while Rober stalks the edges of the frame as bad news bloke. A despicable crime is at the core of the story, and characterisations are straight out of the dark alleyway (Thelma has murky secrets and ideals, Wendell is unhappily married with a drink problem). Running at 100 minutes in length, the pic does feel a touch too long, especially given that the first thirty minutes is focused on building the principal players, where they are at in their life and the build up of their relationship. This asks for faith in staying with the piece, in hope it rewards for the following hour plus. Thankfully it does.

As the crime arrives, we are treated to noir nirvana as per style of film making. It's the middle of the night in a house menaced by shadows as the wind bashes an open window shutter. For a good twenty minutes, prior to - during - and post the crime, the house is a scary monstrous place, perfect for a dark deed to be enacted. The great Siodmak (The Killers, The Spiral Staircase, Criss Cross) is in his element on this, where aided by the superb photographic skills of Barnes (Rebecca, Force of Evil), the staging of scenes and the visuals enhance the moody machinations of the plot. As does Young's dramatic musical score. So with acting performances comfortably on par for the good, the tech credits are high.

Irks come with that drawn out first third of film, and the ending poses some question marks as well. Personally I would have liked it to have finished five minutes earlier, but as it stands there's a sort of double whammy with the finale. Some will find it contrived, others will applaud the ultimate outcome since it doesn't cop out. Either way, this is a noir film worthy of seeking out for the like minded purveyors of such things. 7/10

Perfectly decent noirish outing with excellent performance from Barbara Stanwyck, even if she has done much the same before. Small argument in my house where both my son and wife reckoned that the only problem was that they couldn't see the attraction of the femme fatale herself! I certainly beg to differ and feel most drawn to the feline duplicity of her sinister assuredness, but there we go. Even so a great tale that keeps twisting nicely so that even though you know she must be a baddie, the ever turning tale, especially when we get to court keeps you guessing. Wendell Corey is impressive as the assistant DA if not as a lover, but that's just me.

Wendell Corey had a long career in film and television. In this film he plays Cleve Marshall, an assistant DA who is staying late at the office to avoid going home on his anniversary because his father-in-law (Minor Watson) is there.

While he knocking back shots as fast as he can pour them, in walks Thelma Jordan (Barbara Stanwyck) looking for help. Now, one would certainly be suspicious if a beauty like that immediately began a relationship, but our intrepid hero is too drunk to notice, and, after all, he wants to go out and find a dame.

He is no better the next day when his wife (Joan Tetzel) takes the kids to the beach house, and leaves him alone during the week.

As one would expect in film noir, everything is not as it seems. Cleve gets himself into hot water and uses all his wits to get out.

I have to admit the ending was a big surprise.

One of the noir cycle's best titles ushers in one of its better offerings. Barbara Stanwyck's assumption of the title role, of course, gives the picture a running start. She had worked with Billy Wilder – and helped to shape the cycle – in Double Indemnity, and was to work with Fritz Lang in Clash by Night and even Anthony Mann in The Furies (a western, yes, but a dark one), all key noir craftsmen. Here her director is the no less central Robert Siodmak, and her performances in this and the other titles cited (plus The Strange Love of Martha Ivers and at least five other suspense films of the 1940s and 1950s) cement her sobriquet as the First Lady of Film Noir.

Like her Martha Ivers, Stanwyck's Thelma Jordon has a wealthy old aunt (Gertrude Hoffman, who the next year in Caged would steal that movie from some very tough competition). One evening the niece strolls into the District Attorney's office with a story about prowlers and burglars (explaining that she bypassed the police because `My aunt is eccentric, and uniforms upset her'). She tells her tale to an inebriated assistant D.A., Wendell Corey, who's drinking to escape his embittered marriage. Stanwyck lends a sympathetic ear, and they start seeing one another on the sly.

When the aunt, inevitably, is found shot, Stanwyck calls not the police but Corey, and in a tense and extended scene of panic, he helps her cover up evidence that may incriminate her. When she emerges as the prime suspect, he also arranges for his boss to be disqualified, so he can sabotage the prosecution. Stanwyck (after a beautifully orchestrated processional from jail to courthouse) is acquitted. But her past has begun to catch up with her, complete with a shady lover who keeps turning up – and who shoves the compromised Corey out of the picture. But never trust a duplicitous woman, particularly if she's within easy reach of a dashboard cigarette lighter....

Siodmak (with Ketti Frings, who wrote the screenplay) starts the movie so slowly that it looks like it's going to shape up into a routine, adulterous triangle. But he's just laying his groundwork. He keeps Stanwyck behind ambiguous veils, too, stripping them off one by one. Corey proves just right as the dupe, the fall guy (as Fred MacMurray proved right in Double Indemnity); a skillful character actor who always submerged his own personality in the roles he played, he tended to look a little pallid in leading-man roles he took next to the female stars against whom he was pitted.

Siodmak may be the most ruminative of the great noir auteurs – he eschews flash for solid, patient construction. But when it's time for the big set-pieces (the nocturnal panic in the dark old mansion, the perp walk, the shocking flourish of violence at the end courtesy of Stanwyck and that cigarette lighter), he does them full justice. The File on Thelma Jordon falls just short of the summa-cum-laude distinction of his The Killers, and maybe of Criss Cross and even Christmas Holiday, too. But with Stanwyck's drawing upon the full fetch of her talents, it's an indispensable moment in the noir cycle.

.... What is a pretty lady doing here in the middle of nowhere all alone, interested in a married man with middling prospects?

Assistant DA Cleve Marshall (Wendell Corey) feels misunderstood and unappreciated. His wealthy father-in-law keeps interfering and showing up on important and rather private occasions such as wedding anniversaries and doing things that indicate that Cleve is held in only medium esteem by said father-in-law. So one night he is getting drunk at his office over this situation when previously mentioned pretty lady (Barbara Stanwyck as Thelma Jordan) comes into the office and asks for the other assistant DA, Miles Scott (Paul Kelly), but he isn't there, so Thelma tells her problems to Marshall.

Marshall acts disinterested in the reason she came in - break-ins at her wealthy aunt's secluded home. He flirts with her. He gets even more drunk and obnoxious, then kisses her. And yet the next day she returns and gets even friendlier with him. But Cleve never asks that question - Why unavailable me who did not exactly put my best foot forward last night? They start seeing each other when they can and then something happens that makes it awfully convenient for Thelma to know somebody in the DA's office - Her aunt is murdered and her safe robbed one night, and she looks like a suspect.

Stanwyck and Corey made one other film together - "The Furies", and I thought they had good screen chemistry, which I would have never believed until I watched this. Paul Kelly gives a good supporting performance as the other assistant DA. He goes hard on a murder suspect when doing the questioning, shooting out sarcastic remarks. That's rather ironic when you realize Kelly served two years in prison for manslaughter during the late 1920s, something that apparently had no impact on his acting career. Also note that the two kids playing Wendell Corey's children actually are Wendell Corey's children.

Last but not least, kudos to Victor Young for his wonderful score. He really made looking for a pencil in the dark seem suspenseful.

Barbara Stanwyck, (Thelma Jordon) plays the role of a woman exactly like the one she played with Fred MacMurray in " Double Indemnity" where she has some very dark secrets in her past. Wendell Corey, (Cleve Marshall) plays the role as an Assistant District Attorney and Thelma meets up with Cleve in his office late at night and Cleve has been drinking a lot of booze because he has problems with his wife and he becomes very involved with Thelma who needs a lawyers assistance. Cleve gets romantically involved with Thelma even though he has a wife and children. Thelma's aunt who is very rich is murdered and she does not report her death right away and seeks Cleve's help in trying to take the blame off of her. Thelma complains to Cleve that she hated the room where her aunt was murdered and it smelled of death and she lost her sense of self-control. This film will keep you guessing how this film will eventually end and who actually committed these murders. This is a great mystery story from 1950.

THE FILM ON THELMA JORDON is a very good example of Film Noir and it's extremely reminiscent of Barbara Stanwyck's earlier success in DOUBLE INDEMNITY. In both films, she plays a lying and conniving femme fatale that is able to wrap a man around her finger in order to get what she wants and by the end of the film, both are ruined. However, instead of her target being an insurance investigator, in THELMA JORDON, she pursues an assistant district attorney (Wendell Corey).

The film begins with Corey having an argument with his wife and he's getting drunk and feeling very sorry for himself. Soon Barbara Stanwyck's character appears and before long they're having a sleazy romance--as both are married. It's very hard to care about either one of them at this point and it's not hard to guess that Stanwyck is just plain bad! Where exactly the film goes from there, I'd rather not say--after all, it would spoil the film's many nice twists and turns. At the end, there is a nice little twist in particular that probably will satisfy many, though to me it just didn't ring true. After all, a REAL femme fatale would NEVER have a pang of conscience!

Overall, it's a very interesting and well acted film. I really have no severe complaints, though at times the film was a tad predictable--so much so that you just have to assume that Corey's character is an idiot!! Still, a decent representation of the genre.

The plot takes its good time to meaningfully show up, about forty minutes. Once it does, the scene that follows is such a flurry of dialogue, movement, and somber themes in the music that I feel like the reasoning of the beat gets lost, such that we can only take the kickstart at face value. All that while, Ketti Frings' screenplay gives us some choice lines, and I observe dependable strength in Robert Siodmak's direction, George Barnes cinematography, the production design and art direction, hair and makeup, and wardrobe - all smart and fetching, a real treat as a viewer. I'm also a big fan of Victor Young's score that lends tremendously to the tension. I'm less fond, however, of the narrative itself as penned by Marty Holland. It's great in the broad strokes, but it struggles at no few times with the details; I think too much of the length passes a little blithely to start - then, more significantly, passes elsewhere without wholly, convincingly laying the groundwork for the distinct story beats. Male protagonist Cleve is decidedly indiscreet, for example, but is never called on it; the more details that Holland adds, building convolution, the flimsier the plot feels, and suspension of disbelief becomes difficult to maintain.

Thankfully the movie is indisputably strongest where it matters most; at almost exactly the one-hour mark, at another particular turn in the narrative, the prime beating heart of the tale finds its legs and advances unswervingly for (almost) the entirety of the remainder. I still see the same issues: the minutiae of the film's craft is superb; the minutiae of the storytelling is less pristine. Those issues are substantially lessened, however, as the ferocity of the feature swells, and they become more forgettable by comparison. In that last act especially, the cast give excellent performances, above all Barbara Stanwyck and Wendell Corey as the titular character and the beleaguered prosecutor Cleve. I surely would like to see more pictures of both, and that might say more than anything else.

So I'm disappointed, then, that after 'The file on Thelma Jordon' roars to life, it nevertheless concludes with a sad whimper. To whatever extent Holland's story is less sturdy in the finer points earlier in its runtime, the last several minutes make me second-guess my praise. In theory the ending is fine, a resolution for the tale and these characters that we've seen elsewhere, and will again, not least in film noir. In practice, I don't think there's been any meaningful establishment of the character arcs in the first place - no progression - so that when Thelma and Cleve's paths reach their destination before credits roll, that destination feels inauthentic, an invention of Movie Magic. I rather wonder if Holland had initially written a different ending, and Paramount executives or censors required a rewrite for this or that reason without revising the preceding length. Whether true or not, that's how out of place the last moments feel to me of the two chief characters' stories.

I do like 'The file on Thelma Jordon,' but I think it's noticeably uneven. At its best it's fantastic, an exemplar of the genre; at its worst, it's also highly demonstrative, but to opposite ends. On the balance I certainly believe this is better than not, but again the value of the craftsmanship, and of the storytelling at its best, must be weighed against the weaker facets of the storytelling that are peppered throughout. Whether one wishes to pin the blame on Holland or on screenwriter Frings for failing to pick up the pieces, this simply isn't as solid as it could and should have been. Granted, it's possible that I'm being too harsh as it is. I just know that I anticipated an absorbing story and a good time, and that's more or less what I got - but incompletely. 'The file on Thelma Jordon' remains worth exploring if you have the chance to watch, but there are also many other pictures (in film noir alone) that are more immediately deserving of one's time.

So much has already been said about this film, so I don't have to elaborate. All I can say about this movie is "oh my!". The reason being is that during the late 40's and early 50's a film about infidelity, even though popular at the time (Nora Prentiss, The Postman Always Rings Twice) was viewed by many as taboo, but that didn't stop them from flocking to the local theater to see it!

What puzzles me is that this film has been ignored. It is a well crafted movie with all the elements of a good film noir. It has crime, it has sex, it has deception and it has corruption throughout and it has great cinematography; what a perfect noir! If you have a chance to see this film on TCM, do yourself a favor and make a copy. You will not be disappointed.

When I was a kid and local television showed movies from the forties and fifties, there were two I always confused. Both always intrigued me but eventually lost my interest. One was "The Strange Love of Martha Ivers." This was the other.

I guess their polysyllabic titles made them seem similar. So many noirs have short, terse titles.

This has a promising plot and its director did some fine work elsewhere. But "Thelma Jordon" (an alternate title) seems to me to move very slowly.

The supporting players are OK but they don't have the zing that's required of this sort of endeavor. And here is the main problem, in my view: There is no real chemistry between Barbara Stanwyck and Wendell Corey.

She was marvelous in so many movies, spanning the decades. Of course, this invites comparison to "Double Indemnity." There, we really believe that Fred MacMurray is crazy about her and that she is at least doing her best to draw him in. Those two sizzle. These two don't quite fizzle but they dawdle.

He was a dull, dull leading man; he's dull with Stanwyck again in "The Furies," a year later. But as a troubled, alcoholic DA who falls in with the conniving lady of the title, he generates interest, and even a little heat in his love scenes, of which there are many. There are many because, and the screenwriters didn't iron this out adequately, he loves Thelma, but he also loves his wife, a restrained Joan Tetzel, and we're not sure why he'd seek other pastures. He's really pretty rotten to the wife and the kids (played by Corey's own kids), and it's hard to entirely buy the path he takes when (deliberately badly) prosecuting Thelma for murder. Stanwyck's her usual sinuous self, and there's some wonderful moody noir photography, and a Victor Young score that's rather too pretty for the seamy goings-on. It doesn't entirely add up, including HOW would Thelma survive what happens to her at the end, but it's a pithy noir with a.sizzling femme fatale.

Barbara Stanwyck revisits Double Indemnity territory in a tale of adultery and murder that seems stuck in second gear for a good half-hour before finally taking off. Wendell Corey's an unhappily married Assistant DA who finds himself prosecuting his lover for a murder he's not entirely sure she didn't commit. Pulitzer Prize-winning writer Ketti Frings creates well-rounded characters and handles the more sensational aspects of the story with refreshing maturity. Stanwyck, as always, is flawless, but Corey only sporadically rises to the challenge of playing opposite her.