Possessed | |
---|---|
Directed by | Curtis Bernhardt |
Screenplay by | Silvia Richards Ranald MacDougall |
Based on | One Man's Secret 1943 novellette in Cosmopolitan by Rita Weiman |
Produced by | Jerry Wald |
Starring | Joan Crawford Van Heflin Raymond Massey Geraldine Brooks |
Cinematography | Joseph Valentine |
Edited by | Rudi Fehr |
Music by | Franz Waxman |
Production company | |
Distributed by | Warner Bros. |
Release date |
|
Running time | 108 minutes |
Country | United States |
Language | English |
Budget | $2,592,000 [1] |
Box office | $3,072,000 [1] |
Possessed is a 1947 American psychological drama directed by Curtis Bernhardt, starring Joan Crawford, Van Heflin, and Raymond Massey in a tale about an unstable woman's obsession with her ex-lover. The screenplay by Ranald MacDougall and Silvia Richards was based upon a story by Rita Weiman.
A woman wanders through Los Angeles, saying little more than "David". Admitted to a hospital's psychiatric ward in a catatonic stupor, and interrogated by a doctor, she calls herself Louise Howell, and recounts her life in intermittent spurts, starting with her memory of her lover David Sutton playing Schumann for her, she saying, "I want to have a monopoly on you." He does not return her passion, but returns her home in a boat, and tells her their relationship is over.
She lives, and works as a nurse, at the lakeside home of the Grahams. Louise takes care of Pauline, the invalid wife of Dean Graham. Pauline is irascible and venomous, and thinks Louise is having an affair with her husband; Louise wants to leave.
Later, the police trawl the lake and find Pauline's body. Dean says she killed herself. The Graham children, Wynn, a young boy, and a college-age young woman, Carol, return home. A coroner's hearing is held, with a verdict of accidental death. Afterwards, Louise encounters Carol, who angrily says Pauline's letters said Louise was attractive to Dean. Carol wants Louise to leave; Dean, who has arrived, demands Carol apologize, and slaps her.
David comes by, and says Dean's oil business needs him as an engineer; he is hired. Louise speaks to him and thinks he has another woman, which he denies. Louise goes with the Grahams to Washington, D.C., taking care of Wynn. David happens to be there, and Louise starts drinking and looks strained; he says he is out of love with her forever, and she slaps him. She says she'll quit her job, but Dean asks her to marry him; she agrees, even though she says she is not in love with him, which he accepts.
Louise visits Carol at college, wanting to be liked by her; there is a reconciliation. At the wedding, the uninvited David arrives late, and speaks to the crying Carol, who says she asked him for marriage at 11 years of age, which he remembers. Louise warns him away from Carol, and tells him to leave.
Later, Carol invites him over to their box at a piano recital; Louise has a distressed recollection of David at the piano, and leaves. At home, she has a lengthy hallucination: Carol returns with David, who kisses Carol. Louise confesses to killing Pauline. Carol says she'll tell Dean; Louise hits her, and she rolls down the stairs and dies. After the hallucination ends Carol then comes home for real, but not with David.
Louise, feeling disturbed, visits a doctor under a false name, and is recommended to go to a psychiatrist, but walks out. She asks Dean for a divorce; Dean asks why, and Louise says Pauline hates her. On a vacation back at the lake house, Louise climbs to Pauline's bedroom, screams, and when Dean runs up there, Louise says Pauline is in the room, saying to her, "Kill yourself, Louise". Dean says she's dead, and turns on the light; Louise doesn't see her any more, but confesses to helping her kill herself. Dean says that was false, as Louise was in the village on her day off.
Back at their regular home, Louise, happy to be free of Pauline's ghost, wants to go dancing; but she and Dean see David and Carol at the nightclub. Louise later lies to Carol that David really wants her, Louise. David drops by, and confronts Louise, who says Carol said she, Carol, is tired of David. Louise then admits lying, and that she's willing to do anything to keep David; he threatens to tell Dean about Louise and their past.
Dean confronts Louise, and says a doctor will come see her; she gets angry that it's a mental specialist, though she agrees to talk to him. She sneaks away to David, and says she is worried about being institutionalized. David says he will call Dean, and that he is going away that night to marry Carol. Louise gets out a gun; he taunts her, and she shoots him repeatedly.
She awakens at the hospital, and admits killing David. Dean visits, and the doctor says it is psychosis, as if she is possessed of devils, but he can restore her. He also says her tortured mind and delusion that she helped Pauline kill herself, made her present condition almost inevitable, and that if he had seen her sooner, her problems could have been averted. Re the upcoming trial about David's death, the doctor says Louise is not responsible for any of her actions. They go see the sleeping Louise, and the doctor says the healing process will be long and difficult, and she'll suffer a great deal before recovery. Dean pledges to help support his wife recover fully, no matter what.
Crawford spent time visiting mental wards and talking to psychiatrists to prepare for her role, [2] and said the part was the most difficult she ever played.
During production, director Curtis Bernhardt accidentally kept referring to Crawford as "Bette" as he had just finished filming A Stolen Life with Bette Davis.
Crawford tried unsuccessfully to convince Warner Bros. to change the film's title to The Secret since she had already starred in a film of the same title ( Possessed with Clark Gable as her leading man) sixteen years earlier. [2]
The musical score is by Franz Waxman, and makes extensive use of a piano piece by Robert Schumann, the "Chopin" movement from Carnaval Op. 9. The Schumann piece is played on the piano by David near the beginning of the movie, and is used throughout the score to underscore Louise's obsession with David.
The film was entered into the 1947 Cannes Film Festival. [3]
The film earned $1,987,000 domestically and $1,085,000 in foreign territories for a worldwide total of $3,027,000. [1]
Herman Schoenfeld of Variety positively wrote that Joan Crawford "cops all thesping honors in this production with a virtuoso performance as a frustrated woman ridden into madness by a guilt-obsessed mind. Actress has a self-assurance that permits her to completely dominate the screen even vis-a-vis such accomplished players as Van Heflin and Raymond Massey." Overall, he felt that "Despite its overall superiority, Possessed is somewhat marred by an ambiguous approach in Curtis Bernhardt's direction. Film vacillates between being a cold clinical analysis of a mental crackup and a highly surcharged melodramatic vehicle for Crawford's histrionics." [4]
James Agee in Time magazine wrote, "Most of it is filmed with unusual imaginativeness and force. The film is uncommonly well acted. Miss Crawford is generally excellent", while Howard Barnes in the New York Herald Tribune argued, "[Crawford] has obviously studied the aspects of insanity to recreate a rather terrifying portrait of a woman possessed by devils." [5]
More recently, film critic Dennis Schwartz gave the film a mixed review, writing,
"In German émigré director Curtis Bernhardt's melodrama Possessed, Joan Crawford plays a mentally disturbed person who can't distinguish reality from her imagination. Through use of German expressionism techniques and many familiar film noir shadowy shots, the b/w film takes on a penetrating psychological tone and makes a case for a not guilty of murder plea due to insanity. Though Joan has a powerful presence in this movie, she played her mad role in a too cold and campy way to be thought of as a sympathetic figure. All the psychological treatment therapy sounded like psycho-babble and Joan's acting was overstuffed, though some of her morbid imaginations were gripping and held my attention. Too heavy with German stimmung it still is fun to watch the melodramatics play out in this tale of overbearing love, painful rejection, paranoia and murder." [6]
Film historian Bob Porfirio notes,
"By developing the plot from the point-of-view of a neurotic and skillfully using flashback and fantasy scenes in a straightforward manner, the distinction between reality and Louise's imagination is blurred. That makes Possessed a prime example of oneirism, the dreamlike tone that is a seminal characteristic of film noir." [7]
At the 20th Academy Awards, Joan Crawford was nominated for Academy Award for Best Actress, losing to Loretta Young in The Farmer's Daughter . [2]
Joan Crawford was an American actress. 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, but her films began losing money. By the end of the 1930s, she was labeled "box office poison".
Mommie Dearest is a memoir and exposé written by Christina Crawford, the adopted daughter of Academy Award winning actress Joan Crawford. Published in 1978, it attracted much controversy for its portrayal of Joan Crawford as a cruel, unbalanced, and alcoholic mother, with Crawford's other twin daughters, household staff, and family friends denouncing it as sensationalized fiction. It was turned into a 1981 film of the same title starring Faye Dunaway.
Trog is a 1970 British science fiction horror film directed by Freddie Francis and starring Joan Crawford, Michael Gough and Bernard Kay. The screenplay was by Peter Bryan, John Gilling and Aben Kandel.
Queen Bee is a 1955 American film starring Joan Crawford, John Ireland, Betsy Palmer, and Barry Sullivan. The film was directed by Ranald MacDougall and produced by Jerry Wald. The screenplay by MacDougall was based upon the 1949 novel The Queen Bee by Edna L. Lee.
Phantom Lady is a 1944 American film noir directed by Robert Siodmak and starring Franchot Tone, Ella Raines, and Alan Curtis. Based on the novel of the same name by Cornell Woolrich, it follows a young Manhattan secretary and her endeavors to prove that her boss did not murder his wife.
Mommie Dearest is a 1981 American biographical psychological drama film directed by Frank Perry and starring Faye Dunaway, Steve Forrest, Mara Hobel, and Diana Scarwid, with supporting performances from Xander Berkeley in his feature film debut along with Rutanya Alda and Jocelyn Brando. Adapted from Christina Crawford's 1978 autobiography of the same name, the film follows her and her brother Christopher's upbringing under their adoptive mother, actress Joan Crawford, depicting her as abusive, controlling, and manipulative, prioritizing her Hollywood career over her family.
The Damned Don't Cry is a 1950 American film noir crime-drama directed by Vincent Sherman and featuring Joan Crawford, David Brian, and Steve Cochran. It tells of a woman's involvement with an organized crime boss and his subordinates. The screenplay by Harold Medford and Jerome Weidman was based on the story "Case History" by Gertrude Walker. The plot is loosely based on the relationship of Bugsy Siegel and Virginia Hill. The film was directed by Vincent Sherman and produced by Jerry Wald. The Damned Don't Cry is the first of three cinematic collaborations between Sherman and Crawford, the others being Harriet Craig (1950) and Goodbye, My Fancy (1951).
Nocturne is a 1946 American film noir directed by Edwin L. Marin and starring George Raft, Lynn Bari and Virginia Huston. The film was produced by longtime Alfred Hitchcock associate Joan Harrison, scripted by Jonathan Latimer, and released by RKO Pictures. It was one of several medium budget thrillers Raft made in the late 1940s.
Curtis Bernhardt was a German film director born in Worms, Germany, under the name Kurt Bernhardt.
Strait-Jacket is a 1964 American psychological horror film directed and produced by William Castle, written by Robert Bloch and starring Joan Crawford. Its plot follows a woman who, having murdered her husband and his lover decades prior, is suspected of a series of axe murders following her release from a psychiatric hospital.
Mildred Pierce is a 1945 American melodrama/film noir directed by Michael Curtiz and starring Joan Crawford, Jack Carson, and Zachary Scott, also featuring Eve Arden, Ann Blyth, and Bruce Bennett. Based on the 1941 novel by James M. Cain, this was Crawford's first starring role for Warner Bros., after leaving Metro-Goldwyn-Mayer, and she won the Academy Award for Best Actress. In 1996, Mildred Pierce was deemed "culturally, historically, or aesthetically significant" and selected for preservation in the United States Library of Congress National Film Registry.
Payment on Demand is a 1951 American drama film directed by Curtis Bernhardt and starring Bette Davis and Barry Sullivan. The screenplay by Bernhardt and Bruce Manning chronicles a marriage from its idealistic early days to its dissolution.
Possessed is a 1931 American pre-Code drama film directed by Clarence Brown, starring Joan Crawford and Clark Gable and released by Metro-Goldwyn-Mayer. The film is the story of Marian Martin, a factory worker who rises to the top as the mistress of a wealthy attorney. The screenplay by Lenore J. Coffee was adapted from the 1920 Broadway play The Mirage by Edgar Selwyn. Possessed was the third of eight film collaborations between Crawford and Gable.
This Woman Is Dangerous is a 1952 American film noir and crime drama by Warner Bros. starring Joan Crawford, David Brian, and Dennis Morgan in a story about a gun moll's romances with two different men against the background of her impending blindness. The screenplay by Geoffrey Homes and George Worthing Yates was based on a story by Bernard Girard. The film was directed by Felix E. Feist and produced by Robert Sisk.
This Modern Age is a 1931 American pre-Code Metro-Goldwyn-Mayer feature film directed by Nick Grinde and starring Joan Crawford, Neil Hamilton, Pauline Frederick and Albert Conti.
Mannequin is a 1937 American drama film directed by Frank Borzage and starring Joan Crawford, Spencer Tracy, and Alan Curtis. Crawford plays Jessie, a young working class woman who seeks to improve her life by marrying her boyfriend, only to find out that he is no better than what she left behind. She meets a self-made millionaire with whom she falls in love despite his financial problems.
Woman's World is a 1954 American CinemaScope and print by Technicolor drama film about corporate America directed by Jean Negulesco and starring Clifton Webb, June Allyson, Van Heflin, Lauren Bacall, Fred MacMurray, Arlene Dahl and Cornel Wilde. The screenplay concerns three men who compete for the top job at a large company.
The Girl in White is a 1952 American drama film directed by John Sturges and starring June Allyson, Arthur Kennedy and Mildred Dunnock. It is based on the memoirs of the pioneering female surgeon Emily Dunning Barringer.
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I Married a Doctor is a 1936 American drama film directed by Archie Mayo and written by Casey Robinson. It is an adaptation of Sinclair Lewis’s novel Main Street. The film stars Pat O'Brien, Josephine Hutchinson, Ross Alexander, Guy Kibbee, Louise Fazenda and Olin Howland. The film was released by Warner Bros. on April 25, 1936.