Excellent story,rather dated at start but improved later.Kirk played against type & the under rated Heflin was also good &Stanwyk her usual excellent self.HOLLYWOOD AT ITS
best rather than the all action super heroes films we get now with little or no plots.
I enjoyed it.
Norman.
I love old movies like this - they don;t make em like this any more and wouldn't. Not diverse enough racially and the women are passive which is now verboten - all women MUST be strong and independent and in charge now. That is a new cliche, a new stereotype, of our metoo woke age.
SO I enjoy the lack of pc preaching in these old movies even more.
A decent story from a book - all dark love story and death and guilt. Very Tennessee Williams except it isn't.
I enjoyed it anyway - a long film by the standards of its day at almost 2 hours.
Kirk Douglas cast against macho man type too.
4 stars.
Hyperemotional, genre-blending curiosity which starts with 16 minutes of gaslight melodrama and concludes a lot like film noir. But what it mostly resembles is those glossy '50s melodramas adapted from fat bestsellers about a loner who drifts back to his old home town to uncover the corruption of the powerful people he left behind.
The opening flashback shows the murder of her brutal stepmother by a teenage girl. Who grows into Barbara Stanwyck. Kirk Douglas plays her husband, a witness to the coverup. Between them, they own Iverstown, a small city in the midwest. Van Heflin is her former childhood sweetheart who stumbles back into their toxic marriage and malign influence.
He forms an alliance with a jailbird (Lizabeth Scott). She's on parole for theft, though maybe censorship code for sex worker. Their early scenes are alluring, like restless, rootless nighthawks in an Edward Hopper painting. Stanwyck stars, but has more of a support role, until she ultimately revives her psycho-killer persona from Double Indemnity.
Kirk gets more screen time in his debut, oddly cast as the panicky submissive under her thumb. There's plenty of gloomy noir fatalism, but it more persuasively suggests those febrile, small town melodramas of the next decade, like Some Came Running. This isn't in Technicolor and CinemaScope. But it would feel appropriate if it was.