A wartime drama which depicts the lives of ordinary English housewives. Based on a book by Jan Struther.
A psychological thriller about a man who plots to drive his wife insane so that he can get his hands on some jewels which are hidden in their London home.
After a promising start on Poverty Row quickies, Joseph H. Lewis (The Big Combo) made his first film at Columbia and established himself as a director to watch with this Gothic-tinged Hitchcockian breakout hit, which later proved so popular that Columbia promoted it to A-feature status. The morning after Julia Ross (Nina Foch, Executive Suite) takes a job in London as secretary to wealthy widow Mrs Williamson Hughes (Dame May Whitty, The Lady Vanishes), she wakes up in a windswept Cornish mansion, having been drugged. Mrs Hughes and her volatile son, Ralph (George Macready, Gilda), attempt to gaslight Julia into believing she is Ralph s wife, Marion. Her belongings have been destroyed, the windows barred and the locals believe that she is mad. Will Julia be able to escape before she falls prey to the Hughes sinister charade? And what happened to the real Marion Hughes? A briskly paced and brilliantly stylised mystery that grabs its audience from the start, My Name Is Julia Ross immediately cemented Lewis place in the noir pantheon, and anticipated the elaborate identity-based deceptions found in future classic thrillers like Alfred Hitchcock s Vertigo and Brian De Palma s Obsession. Special Features: High Definition Blu-ray (1080p) presentation Original uncompressed mono PCM audio Optional English subtitles for the deaf and hard-of-hearing Commentary by noir expert Alan K. Rode Identity Crisis: Joseph H. Lewis at Columbia - The Nitrate Diva (Nora Fiore) provides the background and an analysis of the film Theatrical trailer Reversible sleeve featuring original and newly commissioned artwork by Scott Saslow FIRST PRESSING ONLY: Illustrated collector's booklet featuring new writing on the film by author and critic Adrian Martin
Hitchcock's masterful film about intrigue and espionage is filled with suspense and excitement.
Repeated viewings can't dispel the shock of the final scene of Suspicion, Hitchcock's classic 1941 romantic mystery--a brief but disorientating confrontation that suddenly inverts the heroine's mounting conviction that she's married a murderer, forcing us to reconsider virtually every scene and line of dialogue that's preceded it. It's a masterful coup de grĂ¢ce for the director, who has built a puzzle around the corrosive power of suspicion, threaded with deft ambiguities that toy with dramatic conventions and character archetypes in nearly every frame. As embodied by Joan Fontaine, who nabbed an Oscar in this second outing with the director, Lina McLaidlaw is a buttoned-up, bookish heiress whose prim exterior conceals longings for a more engaged emotional life. Her solution materialises in the darkly handsome Johnnie Aysgarth, a gambler, womaniser and spendthrift who flirts, then pursues, and soon marries her. As Aysgarth, Cary Grant is both irresistible and sinister, capable of deceit and petty theft, as well as grander designs on his bride's impending fortune. Lina's passion for Johnnie is clouded by each new revelation about his apparent dishonesty, from clandestine gambling to real-estate development schemes; more troubling are clues implicating him in the death of his best friend, and the prospect that Johnnie may be slowly poisoning Lina herself. By the time we see him ascending a darkened staircase with a suspicious glass of milk, an image made all the more indelible through the spectral glow the director captures in the glass, the evidence seems damning indeed. In fact, even as Hitchcock stacks the deck against Johnnie, and takes full advantage of Grant's skill at conveying such menace, the director also dots his landscape with visual clues to Lina's own neurotic (and erotic) obsessions. The final scene forces us to re-evaluate her behaviour while leaving enough of a cloud over Johnnie to rob him, and us, of a complete exoneration. It's a wicked, unsettling payoff to a brilliantly executed thriller. --Sam Sutherland
Hitchcock's masterful film about intrigue and espionage is filled with suspense and excitement.
In this thrilling, Academy Award-winning drama (Best Special Effects, 1943), Tyrone Power plays Navy Lieutenant Ward Stewart, a crewmember aboard a sub responsible for investigating a suspicious tanker in the Atlantic. Initially Stewart takes a liking to his Commander - Dewey Connors (Dana Andrews) - until he realises that the woman he has fallen in love with is actually Connors' fiancee. Not only that, but, once the crew tracks the tanker to an island, they discover that it is really a German Q-boat and the island is a Nazi supply base! Tension explodes as the two men must work together to defeat the enemy - and come to terms with their rivalry!
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