A Woman's Face

Last updated
A Woman's Face
PosterAWomansFace.jpg
Theatrical release poster
Directed by George Cukor
Screenplay by Donald Ogden Stewart
Elliot Paul
Based onIl était une fois...
1932 play
by Francis de Croisset
Produced by Victor Saville
Starring Joan Crawford
Melvyn Douglas
Conrad Veidt
Cinematography Robert Planck
Edited by Frank Sullivan
Music by Bronislau Kaper
Production
company
Distributed by Loew's Inc.
Release date
May 23, 1941 (1941-05-23)
Running time
105 minutes
CountryUnited States
LanguageEnglish
Budget$1,343,000 [1]
Box office$1,907,000 [1]

A Woman's Face is a 1941 American drama film noir directed by George Cukor and starring Joan Crawford, Melvyn Douglas and Conrad Veidt. It tells the story of Anna Holm, a facially disfigured blackmailer, who, because of her appearance, despises everyone she encounters. When a plastic surgeon corrects this disfigurement, Anna becomes torn between the hope of starting a new life and a return to her dark past. [2] Most of the film is told in flashbacks as witnesses in a courtroom give their testimonies. The screenplay was written by Donald Ogden Stewart and Elliot Paul, based on the play Il était une fois... by Francis de Croisset. Another version of the story, a Swedish production, was filmed in 1938 as En kvinnas ansikte , starring Ingrid Bergman. [3]

Contents

Advertising for the film appears in a photograph by Robert Frank. One of the images of Crawford used in the advertising later was included in the album artwork for The Rolling Stones album Exile on Main St. (1972).

Plot

Anna Holm is on trial in Stockholm for murdering an unnamed victim. Her hat conceals her face.

The first witness, Herman Rundvik, a waiter, recalls a dinner at a secluded tavern, hosted by the charismatic and profligate Torsten Barring. Guests include Vera, the unfaithful wife of plastic surgeon Gustaf Segert, and Eric, Vera's latest conquest.

The manager, Bernard Dalvik, refuses credit, and Torsten meets the proprietress, Anna. The right side of her face is mutilated, but Torsten ignores her scars and compliments her beautiful eyes. Anna forgives the bill and hints that she might be useful to him. After the party leaves, Eric returns to ask Rundvik if something dropped from his overcoat pocket. Back in the courtroom, Rundvik identifies Anna as boss of their blackmail ring. [4]

Next up is Bernard Dalvik. On the advice of her masseuse—Dalvik's wife, Christina—Vera comes to them for help: someone has her letters to Eric. Torsten calls on Anna while Dalvik is making the arrangements with Vera. Anna brings Torsten into their gang and falls deeply in love.

Vera testifies: Anna comes to sell the letters. Gustaf returns home unexpectedly; Anna trips, injuring her ankle. He wants to call the police, but Vera dissuades him. Intrigued by Anna's scars, Gustaf offers to heal her. Vera protests, and her testimony ends.

Anna is called to testify and remembers that, when she was five years old, her drunken father set her room on fire; he saved her, but not himself. When she was 16, hating the world that shunned her, she chose a life of crime. She describes a meeting with Torsten at his apartment in which she reveals much about herself. “We are both proud, both wretched,” he says. They toast their partnership.

Anna endures twelve painful operations. Gustaf wonders: Is she Galatea? Or is she Frankenstein's monster—a beautiful face with no heart? Dissolve to the courtroom: Anna removes her hat, revealing a perfect face.

Torsten is amazed by her new beauty. She reassures him: She has not joined “the saints”. He tells her that his very old, very rich uncle, Consul Magnus Barring, has bequeathed everything to his four-year-old grandson. If the boy dies, Torsten will inherit. Anna is horrified, but Torsten compels her. In the courtroom, she admits that she agreed to kill the child.

She becomes the boy's governess and goes to Barring Hall as Ingrid Paulsen. The house is in the mountains, across the river from the metal works that produces the Barring fortune. Anna becomes fond of the kindly Consul and the sweet-natured little Lars-Erik. Torsten arrives on the eve of the Consul's birthday. He dances with Anna; she is mesmerized. The house guests include Gustaf, who tells Anna that he believes in her reform and will keep her secret. The next day, Anna accidentally leaves Lars-Erik under a sun lamp too long. Her genuine distress makes Torsten doubt her, and he gives her an ultimatum: Lars-Erik must die before the next night. In the courtroom she says, “because... it was what he wanted.”

Gustaf picks up the story. The next day, Anna takes the child for a cablecar ride to the mill. Gustaf climbs aboard an ore bucket on a neighboring cable. He sees her start to pull the bolt on the gate, but she shoves it back and hugs the oblivious child. To Lars-Erik's delight, Gustaf passes them. Gustaf questions a furious Anna. The screen pans to the courtroom. He believes she was angry because he doubted her. The prosecutor accuses Gustaf of loving her; he does not deny it.

Emma Kristiansdotter, the jealous housekeeper, is next. In the attic getting robes for the birthday sleigh ride, she overhears Anna and Torsten, who scorns the ”dove” she has become and reveals his ambitions to do in Sweden “what has been done in other countries.” [5] Downstairs, Anna gives the Consul a pocket chess set, which he hands to Emma, who stops, abruptly.

The Consul recalls the sleigh ride. Torsten speeds by with Lars-Erik, lashing the horses, Anna and Gustaf in pursuit. Torsten won't stop, so Anna shoots him. He slips into the river and over the falls. The Consul believes Anna is innocent, but the judges are not satisfied. Anna protests that she left a message inside the chess set. Emma admits to keeping the letter, but she is above reading other people's mail. It is a full confession—and a suicide note. While the judges deliberate, Gustaf coaxes Anna into admitting that she loves him. He proposes. The clerk tells them that the judges are ready and adds that Gustaf should come, too.

Cast

Reception

Box office

According to MGM records the film earned $1,077,000 in the U.S. and Canada and $830,000 elsewhere. [1]

Critical response

Variety wrote "Miss Crawford takes a radical step as a screen glamour girl to allow the makeup necessary for facial disfiguration in the first half ... [Crawford] has a strongly dramatic and sympathetic role ... which she handles in top-notch fashion." [6]

More recently, film critic Dennis Schwartz discussed the importance of the role to Joan Crawford: "Joan Crawford jumped at the chance to star in this juicy role despite having to play a facially disfigured woman (at least for half the film), which she was advised by even Louis B. Mayer (MGM head) that it could be costly for the glamor actress in the future. Instead it turned out to be one of her more acclaimed roles and did nothing but promote her career further as a serious dramatic actress (she won an Oscar for Mildred Pierce in 1945, which she claims this film had a cumulative effect in helping her win that award). Crawford's scar makeup was credited to Jack Dawn, who created makeup for such films as The Wizard of Oz (1939) and Dr. Jekyll and Mr. Hyde (1941)." [7]

Related Research Articles

<span class="mw-page-title-main">Joan Crawford</span> American actress (190?–1977)

Joan Crawford was an American actress and dancer. She started her career as a dancer in traveling theatrical companies before debuting on Broadway. Crawford was signed to a motion picture contract by Metro-Goldwyn-Mayer in 1925. Initially frustrated by the size and quality of her parts, Crawford launched a publicity campaign and built an image as a nationally known flapper by the end of the 1920s. By the 1930s, Crawford's fame rivaled MGM colleagues Norma Shearer and Greta Garbo. Crawford often played hardworking young women who find romance and financial success. These "rags-to-riches" stories were well received by Depression-era audiences and were popular with women. Crawford became one of Hollywood's most prominent movie stars and one of the highest paid women in the United States, however, during the late 1930s, her films were not as financially successful.

<i>The Divorcee</i> 1930 film

The Divorcee is a 1930 American pre-Code drama film written by Nick Grindé, John Meehan, and Zelda Sears, based on the 1929 novel Ex-Wife by Ursula Parrott. It was directed by Robert Z. Leonard, who was nominated for the Academy Award for Best Director. The film was also nominated for Best Picture, and won Best Actress for its star Norma Shearer.

<span class="mw-page-title-main">Gale Sondergaard</span> American actress (1899–1985)

Gale Sondergaard was an American actress.

<i>Face to Face</i> (1976 film) 1976 film

Face to Face is a 1976 Swedish psychological drama film written and directed by Ingmar Bergman. It tells the story of a psychiatrist who is suffering from a mental illness. It stars Liv Ullmann and Erland Josephson.

<i>The Last of Mrs. Cheyney</i> (1937 film) 1937 film by Dorothy Arzner, Richard Boleslawski, George Fitzmaurice

The Last of Mrs. Cheyney is a 1937 American comedy drama film adapted from the 1925 Frederick Lonsdale play The Last of Mrs. Cheyney. The film tells the story of a chic jewel thief in England, who falls in love with one of her marks.

<i>A Womans Face</i> (1938 film) 1938 film by Gustaf Molander

A Woman's Face is a 1938 Swedish drama film directed by Gustaf Molander, based on the play Il était une fois... by Francis de Croisset. The cast includes Ingrid Bergman in the lead as a woman criminal with a disfigured face.

<i>The Triumph of the Heart</i> 1929 film

The Triumph of the Heart is a 1929 Swedish-British silent drama film directed by Gustaf Molander and starring Carl Brisson, Lissy Arna and Edvin Adolphson. It was shot at the Råsunda Studios in Stockholm. The film's sets were designed by the art director Vilhelm Bryde. The film was made in partnership with British International Pictures and was given a British release in 1930 under the alternative title of False Gold.

Syv dage for Elisabeth is a Norwegian silent film comedy from 1927 directed by Leif Sinding. The screenplay was written by Sinding and Arvid Skappel, and it was based on Skappel's novella Påskeflirt. Sonja Henie played a bit part in the film. The censors removed a closeup of a female dancer, the text Jeg vil, men først vi je ha dig sel 'I want to, but first I want you myself', and a brawl scene.

<i>Theres a Fire Burning</i> 1943 film

There's a Fire Burning is a 1943 Swedish drama film directed by Gustaf Molander and starring Inga Tidblad, Lars Hanson and Victor Sjöström. It was made at the Råsunda Studios in Stockholm. The film's sets were designed by the art director Arne Åkermark. Location shooting took place in Jämtland County. It was set in a thinly-disguised version of German-occupied Norway. This was part of a wider wartime strategy of setting films in unnamed countries adopted by the film industry in neutral Sweden. Molander directed a further film on a similar topic The Invisible Wall the following year.

<i>Big Lasse of Delsbo</i> 1949 film

Big Lasse of Delsbo is a 1949 Swedish historical drama film directed by Ivar Johansson and starring Sten Lindgren, Anna Lindahl and Ulla Andreasson. It was shot at the Centrumateljéerna Studios in Stockholm. The film's sets were designed by the art director P.A. Lundgren. It was inspired by real historical events in nineteenth century Sweden.

<i>Sin</i> (1928 film) 1928 film

Sin is a 1928 silent drama film directed by Gustaf Molander and starring Lars Hanson, Elissa Landi and Gina Manès. It was a co-production between Germany, Sweden and the United Kingdom. It premiered in Sweden in September 1928 but was not released in London until January 1929.

<i>Lars Hård</i> 1948 film

Lars Hård is a 1948 Swedish drama film directed by Hampe Faustman and starring George Fant, Adolf Jahr and Eva Dahlbeck. It was shot at the Centrumateljéerna Studios in Stockholm. The film's sets were designed by the art director P.A. Lundgren.

<i>Little Napoleon</i> (film) 1943 film

Little Napoleon is a 1943 Swedish comedy film directed by Gustaf Edgren and starring Åke Söderblom, Annalisa Ericson and Marianne Löfgren. It was shot at the Råsunda Studios in Stockholm. The film's sets were designed by the art director Nils Svenwall.

<i>The Emperor of Portugallia</i> (film) 1944 film

The Emperor of Portugallia is a 1944 Swedish historical drama film directed by Gustaf Molander and starring Victor Sjöström, Gunn Wållgren and Karl-Arne Holmsten. It was shot at the Råsunda Studios in Stockholm and on location in the city's Old Town and the province of Värmland. The film's sets were designed by the art directors Nils Svenwall and Arne Åkermark. It is based on the 1914 novel of the same title by Selma Lagerlöf, which had previously been adapted into the 1925 American silent film The Tower of Lies.

<i>Lasse-Maja</i> (film) 1941 film

Lasse-Maja is a 1941 Swedish historical comedy film directed by Gunnar Olsson and starring Sture Lagerwall, Liane Linden and Emil Fjellström. It also marked the screen debut of actress Mai Zetterling. It was shot at the Sundbyberg Studios in Stockholm. The film's sets were designed by the art director Max Linder. It is based on the career of the nineteenth century thief Lasse-Maja.

<i>The Street</i> (1949 film) 1949 film

The Street is a 1949 Swedish drama film directed by Gösta Werner and starring Maj-Britt Nilsson, Peter Lindgren and Keve Hjelm. It was shot at the Centrumateljéerna Studios in Stockholm and on location in the city. The film's sets were designed by the art director P.A. Lundgren.

<i>Sara Learns Manners</i> 1937 film

Sara Learns Manners is a 1937 Swedish comedy film directed by Gustaf Molander and starring Tutta Rolf, Emma Meissner and Aino Taube. It was shot at the Råsunda Studios in Stockholm. The film's sets were designed by the art director Arne Åkermark.

<i>In Darkest Smaland</i> 1943 film by Schamyl Bauman

In Darkest Smaland is a 1943 Swedish comedy film directed by Schamyl Bauman and starring Sigurd Wallén, Emil Fjellström and Gull Natorp. It was shot at the Centrumateljéerna Studios in Stockholm. The film's sets were designed by the art director Allan Egnell.

<i>Simon of Backabo</i> 1934 film

Simon of Backabo is a 1934 Swedish comedy film directed by Gustaf Edgren and starring Fridolf Rhudin, Hilda Borgström and Sickan Carlsson. It was shot at the Råsunda Studios in Stockholm. The film's sets were designed by the art director Arne Åkermark.

<i>Crime in Paradise</i> 1959 film

Crime in Paradise is a 1959 Swedish crime thriller film directed by Lars-Eric Kjellgren and starring Harriet Andersson, Gunnar Björnstrand and Karl-Arne Holmsten. It was shot at the Råsunda Studios in Stockholm and on location around the city. The film's sets were designed by the art director P.A. Lundgren.

References

  1. 1 2 3 The Eddie Mannix Ledger, Los Angeles: Margaret Herrick Library, Center for Motion Picture Study.
  2. A Woman's Face at the American Film Institute Catalog .
  3. En Kvinnas Ansikte at IMDb OOjs UI icon edit-ltr-progressive.svg .
  4. Some sources state that Torsten takes the letters from Eric's coat pocket and gives them to Anna in exchange for the tavern bill. The film does not show this and it isn't physically possible. Torsten took Eric's overcoat on the way out, after his encounter with Anna. Rundvik had already swiped the letters. When Torsten brings Anna flowers at her “office,” their second meeting, the blackmail of Vera is well underway and Dalvik is in the next room with her, setting a time for the payoff.
  5. Sweden was neutral during World War II. In 1941, Torsten's words were a clear threat to establish a fascist regime using the Barring fortune.
  6. Quirk, Lawrence J.. The Films of Joan Crawford. The Citadel Press, 1968.
  7. Schwartz, Dennis Archived 2010-10-08 at the Wayback Machine . Ozus' World Movie Reviews. film review, November 11, 2005. Accessed: June 11, 2013.

Streaming audio