Angel Face (1952)

So far, my Otto Preminger viewings have been about half great and half mixed in my opinion. This one had the added appeal of Robert Mitchum to draw me in. He's not even the creepiest character this time.

Beverly Hills ambulance driver Frank (Mitchum) comes to a mansion where one Catherine (Barbara O'Neil) has had a close call with a gas leak. Circumstances suggest an attempt at either suicide or, as she claims, homicide, tho she names no culprit. Frank is smitten with the beauty of her stepdaughter, Diane (Jean Simmons), despite already having a girlfriend (Mona Freeman). Diane goes out of her way to make him her favorite, even persuading her father (Herbert Marshall) and Catherine to hire him as their chauffeur. Frank doesn't fully trust Diane after her insincere manipulations and contempt for Catherine, but he might just be game for whatever she schemes next....

Aspects of the plot bring to mind Double Indemnity and The Postman Always Rings Twice, but it doesn't bear as much resemblance to either as I thought. For one thing, the first death happens relatively late in the runtime, and Frank and Diane waste little time going on trial over it. Diane may have a silver tongue, but she's hardly a mastermind for this sort of act. She reminded me more of an adult version of Rhoda from The Bad Seed than of Matty from Body Heat.

On the plus side, this simpler mindset keeps things easier to follow. For all my appreciation of the aforementioned films noirs, I can remember only so much of how their stories played out. AF telegraphs a few developments and still manages to surprise many viewers. (Some hate the ending, but it was almost inevitable when the Hays Code prevented characters from getting away with crimes.)

On the minus side, there isn't a whole lot of meat to fill 91 minutes. Wikipedia's synopsis takes just three paragraphs of ordinary length. A common complaint among non-fans is that the vacancy leads to an unsteady pace, hazy character development, and generally diluted talent. At least the cinematography is good.

I have to say that a lot of details are dated, probably more than usual for 1952. For example, I doubt it's still protocol for EMTs to slap women in hysterics. You might find these negatives for your filmgoing experience, but I see them as a history lesson of sorts. Just don't put too much stock in the trial's authenticity.

FWIW, sources tell me that producer Howard Hughes meant to torment Simmons for not renewing her RKO contract. It must not have worked very well, because she reportedly loved it. Mitchum and Preminger had the real torment in locking horns.

Was it worth the trouble? Maybe. I kept feeling like there was a classic trapped inside a middling knockoff, or perhaps it was the other way around. I had to think a while before deciding it was OK overall. If you ever check it out, I hope you disagree.