Joan Fontaine as proper and delicate country girl Cristobal tramples all before her in Nick Ray's noir that takes place in a a better part of town Born to Bad. It's like the title says and Miss Fontaine does not disappoint.
Cristobal has come to the big city to visit but wouldn't you know it shows up a day early, just in time for the party that evening. She captivates and quickly finds herself in the arms of a promising writer but soon sets her sights on roomie Donna's wealthy boyfriend.
Ray's opening scene in a hallway of a chic Manhattan walk-up is frenetic and energizing. Longer than wider with people entering offstage via rooms he quickly establishes players, touching it up with telling incidentals like the first indication Cristobal is in the building.. His pace complements Cristobals rise as she rushes to the top and races around trying to control everyone and everything.
Fontaine's feigned sincerity accented by her conciliatory beauty is enraging, frustrating and fascinating to watch. She's one classy noir fatale that get's results and doesn't even pack a rod; so much it takes the likes of Robert Ryan to set things straight with her. A supporting set of doormats: Zachary Scott as the weakling husband, Joan Leslie the betrayed ex and Virginia Farmer as befuddled Aunt Clara fall prey while Mel Ferrer as a moocher artist who knows his place and thus on to Cristobal round out this well acted benign noir among the smart set with an off beat fatale as deceptively hard boiled as the best of them.
Cristobal has come to the big city to visit but wouldn't you know it shows up a day early, just in time for the party that evening. She captivates and quickly finds herself in the arms of a promising writer but soon sets her sights on roomie Donna's wealthy boyfriend.
Ray's opening scene in a hallway of a chic Manhattan walk-up is frenetic and energizing. Longer than wider with people entering offstage via rooms he quickly establishes players, touching it up with telling incidentals like the first indication Cristobal is in the building.. His pace complements Cristobals rise as she rushes to the top and races around trying to control everyone and everything.
Fontaine's feigned sincerity accented by her conciliatory beauty is enraging, frustrating and fascinating to watch. She's one classy noir fatale that get's results and doesn't even pack a rod; so much it takes the likes of Robert Ryan to set things straight with her. A supporting set of doormats: Zachary Scott as the weakling husband, Joan Leslie the betrayed ex and Virginia Farmer as befuddled Aunt Clara fall prey while Mel Ferrer as a moocher artist who knows his place and thus on to Cristobal round out this well acted benign noir among the smart set with an off beat fatale as deceptively hard boiled as the best of them.