One thinks of the lake and its calmness, but it is a superficial calm masking something stirring softly beneath, perhaps something darker and more dangerous. This symbol of life and death, indeed of the journey of life itself, is always present, from a vague and undefined early hope, through bitter tragedy, and finally on to a hard won reward of sorts. What does strike me, however, is the significance not just of water, as others have suggested, but of the lake, and its positioning within the narrative at the beginning, in the middle, and again right at the end. I have read of the film’s blending of references to Greek myths into the story and while I can see where the connections are being made, I’m not convinced they are all entirely apposite. He brings a striking visual aesthetic to Leave Her to Heaven, ably assisted by Leon Shamroy’s sumptuous cinematography, and makes particularly effective use of nature. I’m aware that he was responsible for the original versions of Magnificent Obsession and Imitation of Life (both of which would be famously and successfully remade by Douglas Sirk) and I have seen The Walls of Jericho, again with Cornel Wilde. I have only a passing acquaintance with the work of John M Stahl. What follows is a rapid downward spiral, leading Ellen ever deeper into a state of moral decay and trapping those nearest to her in the web of deceit and selfishness she has spun. Without going into spoiler territory for those who haven’t seen the movie, the first hour charts Ellen’s gradual succumbing to the persistent whispering of her inner demons, culminating in a scene that is shocking in its coldness. However, it is a story of a twisted, all-consuming and all-destructive love, one where insecurity and possessiveness trample generosity and trust, where the heights of joy are abruptly flipped to become the depths of evil. Here they form the basis for a whirlwind romance which sees Harland bewitched by Ellen, while she casually discards both her old engagement ring and the man who gave it to her (Vincent Price). Coincidences wrapped up in misunderstandings are the staple ingredients of many a story and frequently offer a good jumping off point. She’s been reading his latest novel and, because she hasn’t recognized him as the author, offers a frank and less than flattering critique of the writing. These people are Richard Harland and the intense, and intensely beautiful, Ellen Berent (Gene Tierney). On the way to New Mexico, two strangers on a train exchange some flirtatious banter, the kind that feels light and amusing due to its ephemeral nature. He’s fresh out of prison, having served a two year term and as he sets off across the lake to keep a date with destiny his lawyer (Ray Collins) fills in the background for a mystified companion, and leads the audience into the long flashback that occupies the bulk of the running time.
The arrival of novelist Richard Harland (Cornel Wide) is the cue for stolen glances and mumbled words of sympathy.
Ultimately though, the labels or categories applied are immaterial, fading to insignificance next to a startling central performance which manages to simultaneously compel and repel, and that is no mean feat.Īlfred Newman’s ominous score sets a sombre tone for the opening on the water in Maine.
While I am happy to consider it noir, I certainly respect the views of those who are reluctant to do so.
#Cornel wilde hospital movie#
Shot in lush, vibrant Technicolor, with an unashamedly melodramatic plot which unfolds in a succession of rustic settings, this is the kind of movie which is guaranteed to root out that perennial bone of contention relating to color and film noir. Leave Her to Heaven (1945) is a visually and emotionally arresting piece of cinema.
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