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Angel Face (1952)
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Reviews Counted:10
Fresh:8
Rotten:2
Average Rating:7.4/10
Synopsis: Robert Mitchum and Jean Simmons star in this classic tale of love, money, and murder directed by Otto Preminger (ANATOMY OF A MURDER). This film noir centers on Diane, a femme fatale (Simmons)... Robert Mitchum and Jean Simmons star in this classic tale of love, money, and murder directed by Otto Preminger (ANATOMY OF A MURDER). This film noir centers on Diane, a femme fatale (Simmons) whose sweet features belie the murderess within. Diane is looking for someone to take the heat when her stepmother dies in a mysterious accident and leaves her stepdaughter a hefty inheritance. That someone is Frank (Mitchum)--a man whose average life is thrown into chaos when he meets and marries Diane. Though Mitchum plays the victim here, film fans know him best for roles as a creepy killer in later films like CAPE FEAR and THE NIGHT OF THE HUNTER. [More]
Starring: Robert Mitchum, Jean Simmons, Mona Freeman
Starring: Robert Mitchum, Jean Simmons, Mona Freeman
Director: Otto Preminger
Director: Otto Preminger
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Reviews for Angel Face
Preminger transforms a second rate James M. Cain murder plot, re-orchestrating this textbook tale of passion and murder into a haunting and haunted refrain
For all of its unbelievability, Angel Face is consistently suspenseful under Preminger's sure direction. In short, you're never sure what that crazy woman will do next.
One of the best yet still underestimated film noir, boasting gloriously detailed mise-en-scene from Otto Preminger and a revelatory performance by the cast-against- type Jean Simmons as a murderess femme fatale.
A capable cast, headed by Jean Simmons and Robert Mitchum, and a nice, taut story idea have been set adrift in a pretentious Freudian mist that wafts through the handsomely mounted proceedings with disastrous results.
Superb Freudian crime thriller, noir-inflected in theme but shot by and large in crisp, bright drawing-rooms.
This skilfully constructed noir, while not quite as convincing as some, still serves as a reminder that sometimes beautiful people can be the most dangerous.
For the average viewer, this early fifties RKO noir might seem a tad slow, even a bit dreary. But if you look closer, what you'll find is an unnerving study of inertia and the empty blandness of your average murderer.
The sets, characters, and actions are extremely stylized, yet Preminger's moving camera gives them a frightening unity and fluidity, tracing a straight, clean line to a cliff top for one of the most audacious endings in film history.
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