This is one of those films that is considered rather a lesser effort by both the director and the female lead. But the more I see it, the happier I am with it. On reflection, and after multiple viewings, I suppose my fondness for this oddball noir thriller comes from its early use of super-hypnotism--blazing the trail for movies with similar angles, like The Manchurian Candidate, On Her Majesty's Secret Service, and Stir Of Echoes. Over-the-top cinematic use of hypnotism as mind-control in order to terrorize or murder gets pioneering treatment here in Whirlpool (although I'm sure a real film expert can weigh in with even earlier examples, and yes of course they all owe something to Svengali in Trilby), just as The Snake Pit, from a year before, gets credit for pioneering sympathetic and dramatic looks at mental health issues.
I'm not totally enamored of legendary Gene Tierney's performance in this film--which is ironic, given that the word often is that Richard Conte is the one who is miscast as her psychotherapist husband. I guess he's considered too handsome, and not possessed of that cerebral, ultra-brainy vibe that is supposed to be glowing off of anyone playing a character with a heap of college degrees. I remember James Caan getting a similar rap when he played a highly successful author, in the movie Misery; quotes like "he doesn't have the perceptive eyes of a writer supposedly adept at delving into the psychology of his characters...that sparkle is missing!".
Hmmm. If you don't like Richard Conte as a doctor/author then this film could be problem-- because the second half of the film belongs to him, not his wife Ann, played by Tierney, who is arrested for murder in what looks to be an open-and-shut case with no other possible suspect in sight. I love hypnotism stories, even the slightly gonzo implausible ones, but the other big reason I love this movie is its depiction of a husband who, despite grave doubts in the face of a heap of seemingly irrefutable evidence, finally realizes that he should listen to eight years of history of knowing what his beautiful wife could or couldn't do, and goes on a quest to expose the real killer. This leads to his focus on a slimy "quack" of a doctor who may be wearing a thin veneer of respectability over a devilish inner soul. This alleged fiend-- fiend with a perfect alibi thanks to incapacitating and agonizing pain!--is played with marvelous panache by the one and only Jose Ferrer, in splendidly snide and hideous form. The casting is traditional, here; the hero is cleft-chinned and handsome, the villain (if he's as villainous as he sometimes seems to be when we see him alone and apparently trying to wriggle out of some kind of massive debt and impending scandal), but the obvious casting works here. Ferrer, not the handsomest actor in the world, gives us the charismatic charmer who uses his mind-control talents to literally force women to get physically close to him. This is 1949, so his brutish attempt with a hypnotized subject involves him ordering her to take his hand only seconds after putting her under his spell; she refuses...and Ferrer takes a moment to show us the frustration of the "ugly duckling" rejected again, not even able to force women to desire him when they are hypnotized! It's a great, silent moment that suggest that Ferrer's plan for Tierney may have been rather shocking--forced sexual desire-- and only when that proves unattainable does he shift gears, tucking away his sexual frustration, and putting his hypnosis victim to an entirely different use. It's a quick moment, but it gives is a wonderfully sleazy look at the creep Ferrer is really playing, before he transforms back into the slick, intelligent charmer with a flair for words.
Charles Bickford is terrific as the weary, lonely detective who has no choice but to believe in the "orgy of evidence", thus being one more obstacle to Conte as he desperately tries to free his wife. Things play out kind of like a Columbo episode, but Richard Conte is not a cop, just a loyal husband who clings to the idea that he knows his wife better than anyone, despite new secrets bubbling up every hour. Conte's character has a strong heart, and it becomes the heart of the film. Underrated, especially if your interested in fleshing out your list of hypnotism thrillers.
I'm not totally enamored of legendary Gene Tierney's performance in this film--which is ironic, given that the word often is that Richard Conte is the one who is miscast as her psychotherapist husband. I guess he's considered too handsome, and not possessed of that cerebral, ultra-brainy vibe that is supposed to be glowing off of anyone playing a character with a heap of college degrees. I remember James Caan getting a similar rap when he played a highly successful author, in the movie Misery; quotes like "he doesn't have the perceptive eyes of a writer supposedly adept at delving into the psychology of his characters...that sparkle is missing!".
Hmmm. If you don't like Richard Conte as a doctor/author then this film could be problem-- because the second half of the film belongs to him, not his wife Ann, played by Tierney, who is arrested for murder in what looks to be an open-and-shut case with no other possible suspect in sight. I love hypnotism stories, even the slightly gonzo implausible ones, but the other big reason I love this movie is its depiction of a husband who, despite grave doubts in the face of a heap of seemingly irrefutable evidence, finally realizes that he should listen to eight years of history of knowing what his beautiful wife could or couldn't do, and goes on a quest to expose the real killer. This leads to his focus on a slimy "quack" of a doctor who may be wearing a thin veneer of respectability over a devilish inner soul. This alleged fiend-- fiend with a perfect alibi thanks to incapacitating and agonizing pain!--is played with marvelous panache by the one and only Jose Ferrer, in splendidly snide and hideous form. The casting is traditional, here; the hero is cleft-chinned and handsome, the villain (if he's as villainous as he sometimes seems to be when we see him alone and apparently trying to wriggle out of some kind of massive debt and impending scandal), but the obvious casting works here. Ferrer, not the handsomest actor in the world, gives us the charismatic charmer who uses his mind-control talents to literally force women to get physically close to him. This is 1949, so his brutish attempt with a hypnotized subject involves him ordering her to take his hand only seconds after putting her under his spell; she refuses...and Ferrer takes a moment to show us the frustration of the "ugly duckling" rejected again, not even able to force women to desire him when they are hypnotized! It's a great, silent moment that suggest that Ferrer's plan for Tierney may have been rather shocking--forced sexual desire-- and only when that proves unattainable does he shift gears, tucking away his sexual frustration, and putting his hypnosis victim to an entirely different use. It's a quick moment, but it gives is a wonderfully sleazy look at the creep Ferrer is really playing, before he transforms back into the slick, intelligent charmer with a flair for words.
Charles Bickford is terrific as the weary, lonely detective who has no choice but to believe in the "orgy of evidence", thus being one more obstacle to Conte as he desperately tries to free his wife. Things play out kind of like a Columbo episode, but Richard Conte is not a cop, just a loyal husband who clings to the idea that he knows his wife better than anyone, despite new secrets bubbling up every hour. Conte's character has a strong heart, and it becomes the heart of the film. Underrated, especially if your interested in fleshing out your list of hypnotism thrillers.
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