User Reviews

Cinematographer Russell Metty does an outstanding job of displaying ambience as well as capture Joan Fontaine's exquisite beauty as homicidal social climber, title character, Ivy. A Victorian noir it is both lush in costuming and setting featuring a solid supporting cast to deal with a sometimes farfetched script.

Impressionable Ivy wants it all, men money and the trappings that accompany. Married to loving husband, Jervis Lexton she's carrying on an affair with a local doctor ( Patric Knowles) when she sets her sights on wealthy Miles Rushmore (Herbert Marshall). In order to secure the relationship she must deal, harshly, with her other lovers.

Fontaine as the promiscuous, delusional Ivy draped in exquisite finery makes for a delicate fatale. One almost feels pity for her as the walls close in and her childlike dream (death resulting) of wealth and happiness with Miles implodes. Fontaine conveys her desperation with muted intensity while a cast featuring Cedric Hardwick, Lucile Watson, Sara Allgood, Richard Ney and Ona O'Conner in perhaps her most restrained performance as the fortune teller Matilda Thrawn ably support.

Rich in Victorian atmosphere and costuming, Fontaine's conniving man juggling with some decent atmospherics is well worth a watch.

It's obvious that this "poison Ivy" was born to be bad as evidenced by the glance she gives strictly to the camera in the scenes where she has to show the audience what she's really thinking. From the start, it's apparent that the character Joan Fontaine is playing is a complete social climber, pretending to be happily married to Richard Ney, but desperately wanting to be wealthy and free of her rather ordinary husband. she has her eyes set on successful doctor Patric Knowles, who's not exactly wealthy but certainly better off than her working-class hubby. Manipulating time with the busy doctor who is completely enamored of her, she begins to learn about the various poisons he keeps and when she decides it's time to get rid of her husband, some of the poison conveniently disappears. Before you know it, Knowles is on trial for murder (thanks to evidence pointing in his direction), and Fontaine is playing rather well the grieving widow.

Intriguing but not exactly suspenseful, this period melodrama features Fontaine quite different than she had been ever before. She was strong-willed and in control in "Frenchman's Creek", but this is a far cry from that performance, let alone the second Mrs. De Winter in "Rebecca" and all those other films where she played timid heroines. Had this been made in England, it would have started Margaret Lockwood whose beauty could either show vulnerability or sinister evil quite easily. Fontaine's gentle demeanor isn't exactly the key to unlocking an evil soul, and that's what makes her performance all the more interesting.

Richard Ney as the husband is rather dull and Patric Knowles rather unremarkable. Third billed Herbert Marshall really has nothing to do but become the goal ultimate wealth that Fontaine is driving for through her conniving. Sir Cedric Hardwicke is the only male member of the cast who has any real strength as the investigator behind Ney's death. that puts the bulk of the great supporting performances in the other woman's hands, particularly Lucile Watson as Knowles' devoted mother, Sarah Allgood as his maid, and Rosalind Ivan as Fontaine's maid. It is gorgeously filmed and directed by Sam Wood, but there was an obviousness about it that makes it rather shady and empty. A great promise for a fabulous climax will keep you glued for the finish.

Joan Fontaine is terrific as Ivy, the villainess in this superb thriller. Ivy, like the plant for which she is named, just goes wherever she can without a plan. Ultimately, Ivy is driven by greed and opportunity. How she gets what she wants - and even what she wants - she figures out as she goes along. She and her husband, Jervis Lexton, are probably still married because Jervis is a very pleasant person who always lets Ivy get her own way. They were probably married in the first place because he had money at that time, but in the past five years they both have spent it all and are now living in cheap boarding houses in London.

But Ivy is socially charming and a friend gets Jervis a job in the London offices of the very wealthy Miles Rushmore (Herbert Marshall). There is instant chemistry between Rushmore and Ivy, and then he ends things from going any further saying he can have no part of taking up with another man's wife.

Ivy actually has two problems. First there is the husband who is now only good for wage slave money until death do they part, but there is also a doctor, Roger Gretorix, who constantly hounds Ivy to divorce her husband and marry him. You can tell that Roger getting this obsessive about her is not something that she wanted, even before Rushmore was in the picture.

Then one day while in Gretorix' surgery, Gretorix is called out on an emergency case and a bottle of poison is left out on the table. Ivy puts some of that poison in her purse and goes home. When her husband gets home from a hard day's work and asks for a brandy and soda, she poisons it and gives it to him. Now realize Ivy doesn't know anything about this poison. It might kill in seconds, it might kill in hours, it might kill in days, and it might not kill at all in the amount she is using. But she gives Jarvis another poisoned drink the next morning when he is complaining about an upset stomach, and when the doctor tells her Jervis will recover, she poisons the broth that the doctor prescribed for him. Jervis dies that night, while Ivy is at the theatre (Jervis told her to go). Now hapless Ivy has not thought about there being an autopsy ordered (there is) and what the police will do when the results come back as poisoning being the cause of death (it is).

Now at first luck is on Ivy's side. Without her knowledge, Roger was the last person to see Jervis alone and alive and is instantly a suspect given his obsession over Ivy. So it looks like Ivy has a two-fer. She is free to take up with Miles Rushmore and possibly have millions to spend, AND she won't have to worry about Roger being a pest anymore as he will be hanged for the murder she did. But then her luck turns. Inspector Orpington of Scotland Yard begins to think that Ivy is not acting like a friend to Roger or a grieving widow. Plus it helps that in Edwardian England you do not need a search warrant to dig around a person's (Ivy's) home looking for evidence, even in a closed case. Orpington gets some luck too - the clock where Ivy stashed her purse stops working just as he is creeping around her flat - the clock where she hid her purse with the poison.

If you think Ivy takes this in stride and just marches stoically between two police officers into jail upon arrest you'd be wrong too. I'll let you watch and see how she does ultimately take all of this.

There really are marvelous performances by the entire cast. I just don't know how it could have been done any better.

Warning: contains a spoiler. Corny plot and in many cases terrible acting. Fontaine is great, but some others, particularly Richard Ney, Ivy's husband, are exceedingly wooden. Ney lies in bed, dying of arsenical poisoning, with every hair in place. Yet the movie is so juicy and so suspenseful. More faithful to the book than most movies of its era. Casting Joan Fontaine as a poisoner (and an adulteress, which was just as shocking then - I'm not kidding, kids) was a masterful stroke. She's just her usual Joan Fontainey self. As murderers were supposed to, she dies by falling "feet foremost through the floor into an empty space."

When she's good she's very good, but when she's bad she's better. Joan Fontaine uses her angelic features and soft voice to strong counter-effect as the poisonous Ivy; the best scenes have her in close-up, changing facial expressions as she overhears conversations in other rooms. Apart from the stunning Fontaine, the film is pretty dull, especially in the first half (the lack of spark between her and Herbert Marshall, even if she does only care for his money, doesn't help - he is literally old enough to be her father). When Ivy discovers her murderous tendencies it picks up a little, but the contrivance of her hiding incriminating evidence in her own apartment is hard to swallow - as is the unbelievable last scene. ** out of 4.

Although Marie Belloc Lowndes is best known for her psychological horror novel "The Lodger", she did write others with the emphasis on the why rather than the who!! "Letty Lynton" was one and "The Story of Ivy" written in 1928 was another. "Ivy" was a wonderful example of the elegance of some movies made in the post war Hollywood era. With a 120 day shooting schedule and a budget of $150,000 - $30,000 of which went toward the magnificent wardrobe of Joan Fontaine, the film finished 20 days ahead of schedule due to the professionalism of director Sam Wood and the meticulousness of art director William Cameron Menzies.

Ivy (Fontaine) is completely disenchanted with her weakling husband Jervis (Richard Ney), so much so that they have discussed divorce. He has managed to squander his whole inheritance and they are now reduced to living in shabby lodgings. We first see Ivy consulting a fortune teller (Una O'Connor) and she is ecstatic change and wealth are predicted for her. The seer neglects to inform Ivy that she also sees evil influences and terrible misfortune. Things improve instantly. By using her wiles on Mr. Rushworth (Herbert Marshall in a pretty thankless role) he gives Jervis a job in his office and Jervis grasps the opportunity to make good. Even though she is determined to become Mrs. Rushworth, she still has another person to dispose of - Dr. Gretorex (Patrick Knowles)!!!

Joan Fontaine had perfected her "little girl lost" look and it came to her aid in the scene where the police break the news that her husband didn't die of natural causes - he was poisoned!! "Was he insured? - No, he just had his job, don't worry about me, I'll get a job - You're a very brave woman"!!! However, Inspector Orpington (Sir Cedric Hardwicke) is having second thoughts about Ivy's involvement. Hoping to get rid of Gretorex as well, she lies on the witness stand and it is only vital evidence from his loyal old housekeeper (Sara Allgood) that keeps him from the gallows. Ivy has been given a beautiful bag with a secret compartment - just perfect for storing poison and it is the finding of the bag which culminates in the climax of this moody Edwardian thriller.

Olivia DeHavilland was originally assigned to play Ivy but after playing a murderess in "The Dark Mirror" was reluctant to play another so soon. Her sister Joan, already a bitter rival, stepped in and was perfect, even though she didn't like the movie personally.

Ivy (1947) is an excellent "gaslight noir" film, with elements of Hitchcock and Victorian Gothic. Joan Fontaine is superb as the beautiful villainess Ivy. The film is visually stunning, with a suspenseful storyline. This rare gem deserves more recognition.

Ivy is a beautiful blonde woman with a soft voice and elegant manners. She wears gorgeous Edwardian fashions, and extravagant hats with veils. However, beneath the alluring exterior is a cold hearted woman who is obsessed with having beautiful things, such as gowns, jewelry and opulent apartments. She is ruthless in her pursuit of beautiful items, to the point of murder.

Ivy spent all her husband's money, and her lover is a doctor who cares for the poor. Neither man can give Ivy the beautiful things she craves.

When Ivy meets the much older multimillionaire Miles Rushworth, she plots to scheme her way into his heart.

There is a dramatic scene on Rushworth's yacht where Ivy tries to seduce him. Ivy appears in the doorway, looking gorgeous in a low-cut evening gown. Rushworth is tempted, but tells her that he does not become involved with married women.

When Ivy's husband refuses to divorce her, she resorts to poisoning him, and then frames her lover for the murder. Suspense builds as the police try to determine who murdered Ivy's husband.

Ivy hides her poison in a black purse with a strange clasp in the shape of a woman's face. The female face clasp is symbolic, as poison was a woman's weapon in the Victorian and Edwardian eras, because it was secretive and nonconfrontational.

This is a "gaslight noir" film, set in Edwardian England, but with 1940s noir light and shadow, including the iconic noir slatted shadows.

The movie has some Hitchcockian elements, such as a cool blonde, a man wrongfully accused, mirrors, and a build up of suspense.

Victorian Gothic elements include the spooky clairvoyant woman, and her assistant who plays an eerie tune on the piano. The eerie music recurs throughout the film, and adds to the atmosphere.

Legendary art director and producer William Cameron Menzies gave the film stunning visuals and atmosphere. The sets are lavish. Ivy's costumes are gorgeous confections of lace, chiffon and glitter.

This film has a suspenseful storyline, excellent performances, lavish sets and costumes, great atmosphere, dramatic noir lighting, and a beautiful villainess. Hopefully a DVD will be released soon.

Joan Fontaine is riveting here and is more like a poison Ivy.

When she meets wealthy Herbert Marshall, she seems to forget about husband Richard Ney and her lover-doctor, Patric Knowles, who is willing to die for her as the film goes on.

Ivy decides to eliminate Ney. Just as in Mrs. Miniver, Ney's leading lady appears to be too old for him. Fontaine looks like his mother in their scenes together, but with Ney quickly out of the way, you forget that. Remember that in real life at the time of Mrs. Miniver, Ney married Greer Garson, who was his mother-in-law in that great Oscar-winning film.

Circumstances seem to fall into Ivy's favor when the doctor is accused of killing Ney. The film does a splendid job of creating this with Ivy and Knowles giving conflicting stories, and the promise that housekeeper Sara Allgood had made to Knowles.

Lucille Watson is wonderful as Knowles's mother and Cedric Hardwicke, as the police official, steals the scenes he is in with his suspicion of Ivy as the real killer.

To say that Ivy went out with a bang at the end of the film is to put it mildly. It's the old story of getting what you deserve.