This intriguing film sees a devoted mother covering up the death of her daughter's forbidden lover, believing her daughter responsible for his murder. Her best attempts are useless, however, as the body is immediately discovered at the bottom of a lake and a mysterious stranger arrives to blackmail her, having her daughter's love letters in his possession.
Many elements combine to make this a thrilling film, not least the ever-brilliant Max Ophuls' direction. After the classic 'Letter From an Unknown Woman' and my personal favourite, 'Caught', Ophuls plays this film noir as an emotional drama where crime plays a relatively small part. The ever-on-form James Mason is the stranger intent on blackmailing, but rather than a simple henchman, his Donnelly is a very human character who is quickly drawn under the spell of Lucia's (Joan Bennett) simple, middle-class family life, and in fact, of Lucia herself.
This unusual denouement sees him rebel against his shady employer and sacrifice himself to preserve Lucia's dignity. But the main focus is Lucia herself, and the brief torment she goes through trying to raise the $5000 to pay off Donnelly. Her reaction of hiding the body is a natural, maternal instinct, but the role she subsequently takes on, as protector of her family, is a result of her absent husband (working in L.A.) that provides an original spin on the genre. Her morals are further shaken when an innocent man is arrested and she is torn between saving her daughter and doing the right thing.
In the end the matter is taken out of her hands as Donnelly makes the ultimate sacrifice and the Harper family is left to celebrate Christmas together.
What makes this film especially interesting, beyond the unique plot and great performances, are the several flourishes of Ophuls: his usual, sweeping camera never stealing focus but creating a stunning look to the film that ensures it doesn't date; the brilliant use of extras, constantly barging into and through the couple as they try to discover the best course of action, refusing to let things settle for long enough for matters to become clear. This keeps the plot moving along very efficiently and the movie is over in no time at all. Also, the mise-en-scene of the Harper home, with its comfortable, protected feeling and various family members coming and going, reminding us that this is not the sort of place that these kind of events happen. Donnelly can't blackmail Lucia without being interrupted by Grandpa who would like to share a drink with the guest, or the son who needs help fixing a car. Even the police investigation is hampered by curious boys climbing onto their boat.
Like 'A History of Violence', this is film noir in the family home - more disturbing than criminal underworlds but ultimately out of place and ineffective. A good introduction to a director of a classic style, well worth exploring.
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