I suppose this isn't a terrible film. After all, it has a plausible story, convincing atmosphere and capable performances from a skilled cast. But something about it seems cheap, that this was probably a project they all did in between other more important pictures.
Merle Oberon is the damsel in distress, somewhat miscast as a troubled femme whose family hails from the south...form New Orleans to be exact. Her parents recently drowned in a ship wreck, she herself was on that tragic voyage and narrowly escaped with her life. Before the end of this movie, she will almost die again, though the circumstances will be different.
In order to finish her recovery, both physical and psychological, she travels back to the family plantation where an aunt and uncle (Fay Bainter & John Qualen) supposedly reside with a friend of theirs (Thomas Mitchell). On her way to the old homestead, Oberon meets a congenial country doctor, is there any other kind, in the form of Franchot Tone. He takes an immediate liking to her and an interest in her continued recovery.
While settling in at the manse, Oberon meets an assortment of colorful characters. These include Mitchell's companion (muted gay partner per the production code), played by creepy Elisha Cook. There are also a few African American servants, as well as an ex-caretaker (Rex Ingram) who tries to reclaim his job, but is murdered. As I said, plenty of atmosphere and mystery.
The sets are cheaply constructed and one can't help but feel how much grander the drama would have come across if this hadn't been an indy production but a bigger budgeted studio effort. Despite the obvious financial limitations, director Andre de Toth makes expert use of the cast who all do their valiant best, especially Bainter. Even Tone seems to care more about the type of characterization he's providing than he usually does in his other Hollywood roles.
There are some nice countryside scenes where Tone is courting Oberon, in between her frequent displays of hysteria and paranoia. One particular sequence has him take her to a lively outdoor dance, populated by the locals. We believe she might truly be happy, if those imposters at home weren't so hellbent on trying to kill her for her money.
The final climactic sequence involves a hostage crisis out on a boat in the bayou. It is there that Mitchell and the extremely deranged Cook attempt to off Tone and Oberon, who both know too much about Mitchell's plan to seize control of family property. Cook perishes in quicksand, while the others must fend for themselves in the dark murky waters.
Merle Oberon is the damsel in distress, somewhat miscast as a troubled femme whose family hails from the south...form New Orleans to be exact. Her parents recently drowned in a ship wreck, she herself was on that tragic voyage and narrowly escaped with her life. Before the end of this movie, she will almost die again, though the circumstances will be different.
In order to finish her recovery, both physical and psychological, she travels back to the family plantation where an aunt and uncle (Fay Bainter & John Qualen) supposedly reside with a friend of theirs (Thomas Mitchell). On her way to the old homestead, Oberon meets a congenial country doctor, is there any other kind, in the form of Franchot Tone. He takes an immediate liking to her and an interest in her continued recovery.
While settling in at the manse, Oberon meets an assortment of colorful characters. These include Mitchell's companion (muted gay partner per the production code), played by creepy Elisha Cook. There are also a few African American servants, as well as an ex-caretaker (Rex Ingram) who tries to reclaim his job, but is murdered. As I said, plenty of atmosphere and mystery.
The sets are cheaply constructed and one can't help but feel how much grander the drama would have come across if this hadn't been an indy production but a bigger budgeted studio effort. Despite the obvious financial limitations, director Andre de Toth makes expert use of the cast who all do their valiant best, especially Bainter. Even Tone seems to care more about the type of characterization he's providing than he usually does in his other Hollywood roles.
There are some nice countryside scenes where Tone is courting Oberon, in between her frequent displays of hysteria and paranoia. One particular sequence has him take her to a lively outdoor dance, populated by the locals. We believe she might truly be happy, if those imposters at home weren't so hellbent on trying to kill her for her money.
The final climactic sequence involves a hostage crisis out on a boat in the bayou. It is there that Mitchell and the extremely deranged Cook attempt to off Tone and Oberon, who both know too much about Mitchell's plan to seize control of family property. Cook perishes in quicksand, while the others must fend for themselves in the dark murky waters.