In his commentary on the DVD special features, film noir expert Eddie Muller initially had reservations about "Angel Face," considering it to be a fairly minor and unexceptional film. However, other factors, such as the endorsement of renowned director Jean-Luc Godard, seemed to influence his opinion. Muller praised director Otto Preminger's efficiency in storytelling, but I found the film's inefficiency to be a significant drawback, relegating it to the mediocre category of noirs despite its impressive cast.
Muller acknowledges that "Angel Face" didn't fare well at the box office upon its release, with critics pointing out its slow-moving narrative. This criticism holds true for the first half of the film, until Diana (played adequately by Jean Simmons) murders her father and stepmother. The movie starts off with a gripping scene as paramedic Frank Jessup (Robert Mitchum) rushes to the Tremayne household, where Diana's stepmother has been exposed to gas. Diana develops an obsessive interest in Frank, even attempting to sabotage his relationship with his girlfriend Mary Wilton by lying about a date with him. While Diana's parents and their Japanese servants seem intriguing, they remain underdeveloped characters. Diana's obsession dominates the story, resulting in repetitive and talkative scenes where she tries to ensnare Frank. Frank's decision to take a chauffeur job at the Tremaynes, hoping to secure funding for his sports car shop, seems out of character for the hardened Mitchum, as he willingly falls for Diana's manipulations.
Although Diana's method of killing her parents, with the car dramatically plunging off a cliff, has a cinematic quality, it lacks surprise. Preminger's heavy-handed foreshadowing, with Diana flipping a cigarette box over the cliff, diminishes the impact. It's also hard to believe that Diana wouldn't account for her father's whereabouts before tampering with the car, given that her goal is to eliminate the stepmother.
Ironically, the courtroom scene provides a welcome relief from the preceding dialogue-heavy scenes. Thanks to Leon Ames' excellent portrayal of Diana's slick attorney and effective cross-cutting cinematography, the courtroom drama feels less verbose. With Diana in the background during the trial, the secondary characters take center stage, offering a refreshing change of pace.
Following the standards of the Hollywood decency code in 1952, the murderer must face justice, and Diana's seeming remorse isn't enough to save her. As Frank lied to the police about Diana's state of mind, he, too, must be punished. Unfortunately, the predictable ending of "Angel Face" becomes apparent early on. We anticipate Diana's intention to kill Frank after his rejection, but the manner in which it happens-another car plunge off a cliff-feels like a tired cliché.
The femme fatale storyline suffers from overuse by 1952, requiring a fresh angle to maintain audience interest. Unfortunately, Jean Simmons' portrayal of the demented socialite fails to deliver any surprises, but the fault lies not entirely with the actress herself, as the role lends itself to one-note overacting.
Lastly, despite his miscasting in "Angel Face," it's reassuring to know that Robert Mitchum wasn't a pushover in real life. According to Muller, when Preminger insisted that Mitchum slap Simmons multiple times during rehearsals, Mitchum retaliated by slapping Preminger and asking, "Is this the way you want it done?" Mitchum objected to Preminger mistreating women, leading Preminger to storm off the set, demanding Mitchum's dismissal. Fortunately, Preminger's demand was unsuccessful, and Mitchum continued to live up to his reputation as a chivalrous tough guy knight in shining armor.
Muller acknowledges that "Angel Face" didn't fare well at the box office upon its release, with critics pointing out its slow-moving narrative. This criticism holds true for the first half of the film, until Diana (played adequately by Jean Simmons) murders her father and stepmother. The movie starts off with a gripping scene as paramedic Frank Jessup (Robert Mitchum) rushes to the Tremayne household, where Diana's stepmother has been exposed to gas. Diana develops an obsessive interest in Frank, even attempting to sabotage his relationship with his girlfriend Mary Wilton by lying about a date with him. While Diana's parents and their Japanese servants seem intriguing, they remain underdeveloped characters. Diana's obsession dominates the story, resulting in repetitive and talkative scenes where she tries to ensnare Frank. Frank's decision to take a chauffeur job at the Tremaynes, hoping to secure funding for his sports car shop, seems out of character for the hardened Mitchum, as he willingly falls for Diana's manipulations.
Although Diana's method of killing her parents, with the car dramatically plunging off a cliff, has a cinematic quality, it lacks surprise. Preminger's heavy-handed foreshadowing, with Diana flipping a cigarette box over the cliff, diminishes the impact. It's also hard to believe that Diana wouldn't account for her father's whereabouts before tampering with the car, given that her goal is to eliminate the stepmother.
Ironically, the courtroom scene provides a welcome relief from the preceding dialogue-heavy scenes. Thanks to Leon Ames' excellent portrayal of Diana's slick attorney and effective cross-cutting cinematography, the courtroom drama feels less verbose. With Diana in the background during the trial, the secondary characters take center stage, offering a refreshing change of pace.
Following the standards of the Hollywood decency code in 1952, the murderer must face justice, and Diana's seeming remorse isn't enough to save her. As Frank lied to the police about Diana's state of mind, he, too, must be punished. Unfortunately, the predictable ending of "Angel Face" becomes apparent early on. We anticipate Diana's intention to kill Frank after his rejection, but the manner in which it happens-another car plunge off a cliff-feels like a tired cliché.
The femme fatale storyline suffers from overuse by 1952, requiring a fresh angle to maintain audience interest. Unfortunately, Jean Simmons' portrayal of the demented socialite fails to deliver any surprises, but the fault lies not entirely with the actress herself, as the role lends itself to one-note overacting.
Lastly, despite his miscasting in "Angel Face," it's reassuring to know that Robert Mitchum wasn't a pushover in real life. According to Muller, when Preminger insisted that Mitchum slap Simmons multiple times during rehearsals, Mitchum retaliated by slapping Preminger and asking, "Is this the way you want it done?" Mitchum objected to Preminger mistreating women, leading Preminger to storm off the set, demanding Mitchum's dismissal. Fortunately, Preminger's demand was unsuccessful, and Mitchum continued to live up to his reputation as a chivalrous tough guy knight in shining armor.