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Leave Her to Heaven (1945)

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26 out of 37 people found the following comment useful :-
Incest through a third party., 14 August 2003
Author: dbdumonteil

The melodrama of which Stahl was one of the masters throughout the thirties had muted,probably because the importance of the film noir in the following decade."Leave her to heaven' is as much a film noir as a melodrama.What's particularly puzzling is the color. Like some Lang ,HItchcock or Tourneur works ("secret beyond the door" "spellbound" or "cat people",for instance) ,this is par excellence a Freudian movie.The heroine has never solved her Oedipus complex :she has always been in love with her father -dig the scene when Gene Tierney rides her horse as she throws her father's ashes away. The love she could not make with her father ,she will make it through a third party: a husband who resembles her dad. This could be fine.She loves her husband to the exclusion of all others .But there are others ,and they are all living threats.So these intruders will be enemies.The scene when Tierney sees her family coming through binoculars can be compared to an attack of Indians or bandits when the hero is alone in a remote fort in an adventure film ,as Bertrand Tavernier pointed out in "50 ans de cinéma américain". Had the heroine preserved her intimacy -and how stupid her husband was not to have understood that!-,maybe nothing would have happened.THe color,which might seem irrelevant in a film noir ,is actually necessary because "back of the moon" ,the island in the middle of the lake is a paradise ,soon to become a lost paradise,then a living hell. A probably never better Gene Tierney outshines every other member of the cast ,which is first-rate though.Little by little,we see her become a monster ,and the actress's performance is so convincing (along with a superb script from which a lot of today's writers could draw inspiration) that it gives her horrible crimes an implacable logic.Like in a Greek tragedy. "Leave her to heaven " is by no means "romantic trash" .It's the crowning of Stahl 's career in which he transcends both melodrama and film noir.

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29 out of 43 people found the following comment useful :-
Gene Tierney delivers memorable performance in this technicolor film noir..., 14 April 2001
Author: Neil Doyle from U.S.A.

While most film noirs conjure up images of terror in black-and-white settings, 'Leave Her To Heaven' manages to fall into the noir category despite its lush technicolor scenery and handsome interiors. It's a visually stunning example of "women's noir" performed to the hilt by a talented cast. Only Cornel Wilde fails to deliver. He seems too weak as the author who impulsively marries a beautiful woman, only to find that beneath the lovely exterior is a warped mind consumed by jealousy. He never quite measures up to Tierney's performance--seemingly sweet and kind but actually cold and cunning. Tierney has never been more beautifully photographed and looks stunning throughout. Jeanne Crain does well enough as the demure half-sister, rising to the occasion when the script demands a spunkier side to her personality. While the plot gets a little "heavy" at times, it's a supremely satisfying melodrama played against some of the most beautiful settings imaginable. Alfred Newman's music suggests the slowly developing tension. All in all, a fascinating example of film noir that succeeds despite technicolor. Another fine example of color noir might be 'Chinatown'. Well worth seeing to watch a fascinating femme fatale at work. Gene Tierney deserved her Oscar nomination--but lost to Joan Crawford of 'Mildred Pierce'.

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13 out of 18 people found the following comment useful :-
What Shall Be Done With This Jealous Woman? Let Heaven Deal With Her!!, 22 October 2005

Author: Roseofsharon969 (Roseofsharon979@live.com) from Canada

*** This comment may contain spoilers ***

Lushly photographed in Oscar-winning Techincolor, this film version of Ben Ames William's novel is an engrossingly watchable portrait of a possessive, jealous woman, a role that earned Gene Tierney an Oscar nomination.

There is an obvious tension between Ellen Berent (Tierney) and her mother (Mary Phillips), especially when it is hinted that Ellen and her late father had a special, close relationship. When the exotically beautiful socialite Ellen meets the handsome, gentle, and rather naive novelist Richard Harland (Cornel Wilde), she is taken with him because of his resemblance to her deceased dad. They gather with Ellen's family at the ranch of a mutual friend, and Ellen has Richard under her spell, discarding her fiancée Russell Quinton (Vincent Price)like last week's garbage. She proposes to Richard, and states breathlessly, "I'll never let you go,", and the poor guy (and the audience) has no idea what he is in for. It also seems that everyone but Richard (and the viewer) is aware of Ellen's demands of attention and possessiveness, as the narrator and family friend Glen Robie states early in the film, "Ellen always wins", and "Nothing ever happens to Ellen".

As soon as they are married, they travel to Georgia to meet Richard's handicapped brother, Danny (Darryl Hickman), and although Ellen helps look after him (and even teaches him to walk with crutches) she is incensed by the intrusion of him into their lives, their home, and basically, of any other person coming between her and her husband. When her mother and sister Ruth (Jeanne Crain) come for a visit, she is all but enraged and her icy reception sucks all the fun out of that party!!! After her family departs, Ellen secretly takes Danny out in the lake for swimming, and deliberately lets the poor boy drown so she can have Richard all to herself. The crestfallen novelist and his manipulative bride then go to stay with Ellen's family, and on the advice of Ruth, she decides to give Richard a baby. However, Ellen is soon disillusioned with the idea, bemoans the fact that she will soon lose her figure (and her husband's attention), she coldly puts on a beautiful blue evening gown, applies red lipstick and deliberately throws herself down a flight of stairs, and succeeds in miscarrying the son that Richard so wanted. She then focuses her obsession on to her gentle sister, seeing the friendship Ruth shares with Richard, and in a self-righteous tirade, berates her long-suffering sibling (actually cousin adopted by the family), unwittingly revealing her dastardly deeds for Richard to overhear. He leaves her, preparing to file for divorce, so Ellen hatches her most evil scheme of all - she writes a letter to Quinton saying that Ruth is planning to kill her, and then poisons herself at a family picnic in order to frame her sister. The truth, however comes out at trial and Harland is forced to serve a prison sentence of two years due to his knowledge of Ellen's crimes, but once he has served his time, he and Ruth, whom had declared her love for him at the trial, unite against a epic sunset . . . . . . . .

Tierney and Crain look fabulous, and could easily pass for sisters. Ellen's "nightmare" is an effective foreshadowing of Danny's death, and her jealousy over Enid Southern, a girl from Harland's past, adds more richness to the movie. Chill Wills is great as handyman Thorne, and Vincent Price is a perfect unwitting accomplice in Ellen's last scheme. There are biblical references that resound in the film, for example, Ellen is portrayed as a serpent emerging from dark waters in one scene, while Ruth is presented as an angelic, nurturing, gardening, animal-loving cherub. Another interesting analogy is that on the way to the ranch, Ellen is anticipating hunting and eating wild turkey, while Ruth can't wait to see the new colts. The theme music is dramatic and adds fuel to the already burning fire of the drama.

It is classified as film noir, and even with the color photography, it makes sense. An interesting presentation of a truly malicious character.

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13 out of 18 people found the following comment useful :-
One of her best roles, 3 January 2005

Author: Alicia Daugherty (alicia.daugherty@verizon.net) from Mill Creek, Washington

This was ONE of Gene Tierney's best roles, outside of Laura. She plays a woman lost in jealousy and unjustified vengeance. You understand her love for her husband and are not horrified by her murderous acts because she is so lovely and really not a bad person. You also sympathize with her, because you sense her loneliness. She has to be lonely because she's so caught up this web of jealousy. Who can she confide in with it? No one. Cornel Wilde is sort of a dolt to not see how "mad" is wife is. There are questions you can see he wants to ask of his mother-in-law, but doesn't to his detriment. I love, love this movie. Buy it - you'll watch it over and over again.

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14 out of 22 people found the following comment useful :-
This Depends On What You Expected, 17 March 2006

Author: ccthemovieman-1 from Lockport, NY, United States

How one views this movie probably depends on how they feel about genres. Billed as a "film noir," fans of that genre, expecting the typical hard-edged crime film with tough characters, most likely will be disappointed. Fans of melodramas, however, will be delighted as the movie leans far more in that direction.

For my tastes, the film was way too slow and has too much melodrama, but that may have been because I expected something else. Many classic movie fans love this movie. The film did pick up in the second hour once the drowning scene occurred but in my case, it was too-little, too-late. But, don't misinterpret my remarks: it's still a fine film, a true classic.

One thing everyone should agree on: the cinematography. One would be hard- pressed to find a prettier 1940s film than this one, especially on DVD with a flat screen or plasma set. It's just gorgeous with an astounding color palette. The the two leading ladies are eye-pleasing, too: Gene Tierney and Jeanne Crain, so there is plenty to ogle.

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6 out of 7 people found the following comment useful :-
What a Movie!, 14 February 2007
Author: Jalea from USA

This is one of my favorite movies! The mystery was the lead character, Ellen; the cool, lovely and smoldering and so much more. Ellen Berent Hartman is the adult version of Rhoda Penmark in The Bad Seed (1956). Totally ruthless, unfeeling and riveting. Gene Tierney (Ellen) gave the performance of her career! Cornel Wilde was a good foil for her as her unsuspecting husband, Richard Hartman. This movie is about the rare breed of human who has feelings for no one, consumed by their own selfish desires. The costars almost faded in the background at times in comparison to Tierney's performance. Yet, every character had their moment to shine. Vincent Price does a great job portraying the jilted fiancé whose fierce determination to see justice done is just an expression of loss and unrequited love. Jean Crain was appropriately forlorn and Chil Wills' expression of horrid realization was chilling (no pun intended). With all of the cards seemingly laid on the table for the audience, there is still room for suspense. If you like a suspenseful drama, don't miss this movie. I watch it every chance I get.

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14 out of 23 people found the following comment useful :-
Visually stunning Technicolor and an extremely good performance by Gene Tierney in a preposterous role, 25 April 2006

Author: 17268 from Waynesboro, PA

I am giving this movie a ten for several reasons. Is it a great movie? Well, actually no. But here is an example where the parts are greater than the whole.

It's time for a re-evaluation of Gene Tierney. Yes, she was one of the most beautiful women in film history. No, she wasn't one of the greatest actresses--however, she was a much better one than she is given credit for, especially when she had a good director, as she does here with John Stahl. "Leave Her to Heaven" is her only Oscar-nominated performance; and she is very, very good. The scene of her wearing dark glasses and rowing a boat is indelibly memorable if you've seen the movie. Ellen, Tierney's character, IS preposterous--but Tierney makes the whole thing work. Ellen reminds me of Mrs. Robinson in "The Graduate"; I know I'm in the minority, but Mrs. R. is the only likable character in "The Graduate." The rest of the characters are annoying--especially Benjamin; Bancroft makes Robinson the one bright bulb in the chandelier: extremely witty, bored by life and those around her, always in control (until the end). Likewise, Ellen in "Leave Her to Heaven." Although I like Jeanne Crain, she does get a bit cloying here--or at least her character Ruth does. Cornel Wilde is far too vapid to imagine Ellen going to such extremes to get him and keep him.

The color photography--which won an Oscar--is luridly beautiful as only Technicolor could be at its best. The entire movie is beautifully and lovingly filmed, especially Tierney, who is also stunning in black and white, especially in "Laura" and, in her best performance, "The Razor's Edge," another movie that works far better than it should and holds up remarkably well today.

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4 out of 4 people found the following comment useful :-
Color Time Travel - A film that must be experienced on the Big Screen, 26 April 2008

Author: ted-129 from San Francisco

No one can watch this without remembering Gene Tierney's searing blue eyes, Jeanne Crain's face of innocence, or Cornel Wilde (lightyears from The Naked Prey) here looking like a photo of Pierre & Gilles come to life. It's 110 minutes of color-time-travel basking in the surreally saturated Technicolor palette of the mid 40's.

For those who have been denied the experience of watching the recently restored version with a rapt audience on a big screen as happened April 26, 2008 at San Francisco's Castro Theatre, I can only hope you'll contact a film preservation-minded theater in your area.

Though I've watched this film on DVD, nothing prepared me for the impact of the big screen. The closeups alone will take your breath away.

Is it melodrama or is it noir?--leave that to Heaven!

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5 out of 6 people found the following comment useful :-
Striking melodrama, 13 March 2007

Author: arturus from New York, NY

This is the kind of film you have to watch understanding the time in which it was made. Talking pictures were only just under twenty years old and people did not realize that film required techniques different from the stage. Two of the leads (Tierney and Price) were both stage actors and were taught to play in the large style that was part of the time and was what audiences expected, as were the grand emotional gestures in the plot of this picture and others, and the ever-present music.

Stage productions at that time mostly all had incidental music, specially written for them (one example is Paul Bowles' score for the Broadway stage production of "The Glass Menagerie"), performed live, in the theater.

This film has a particularly effective score by Alfred Newman, though loud and melodramatic by today's standards, using an ostinato timpani figure, a kind of throbbing heartbeat, and the musical intervallic motive of the descending augmented fourth, the "tritone", which in the middle ages was called the "Devil in Music", to express the darker side of the lead character's motives and persona.

So we should be careful in watching films like this, to understand the context and try to put ourselves in the place of the audiences of that time. If one does, this is a grand experience, with top-notch performances, cinematography, writing and music. Stretch your mind and heart to fit the big emotions and seemingly impossible plot turns, imagine yourself watching this in a huge theater, with hundreds if not thousands of others, on a huge screen, with a very powerful sound system, and suddenly it works.

Of course, this is a vehicle for a "star" actress, and Tierney rises to the occasion admirably, holding your attention in every scene she's in, by her beauty and her sheer magnetism on the screen. On the DVD commentary for it, the actor who appeared opposite Tierney as the young boy Danny belittles her "technical" acting approach (that is, working from the outside in, rather than using the inner-directed "Method" developed around that time in America by Lee Strasberg, taking and often misunderstanding and misinterpreting techniques developed in Russia by Constantin Stanislavsky) and he says that, in scenes, she gave nothing to the actor (himself) playing opposite her.

Well, first, that's the character she's playing, icy cold, with a "flat affect", as written. As a relatively inexperienced film actress, she was possibly one of those actors who cannot get out of character between shots or while resting on a shoot. In retrospect we know of her serious mental problems which manifested later, and perhaps this role was just too close for comfort!

Considering that, watching her playing from this distance, I think she does very well, always present in the scene and listening, with only a very few moments of self-conscious posing. I think Mr Hickman has an ax to grind here; in fact, he does, and he goes as far as to advertise his own teaching practice and book about acting!

Let's face it, when we think of this picture and others like it, after all, we remember Tierney, her beauty, her strong screen presence and her vulnerability as the character, not his performance, good as it is.

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6 out of 8 people found the following comment useful :-
Leave Her to Heaven- You Can't Leave this One ****, 9 October 2006

Author: edwagreen from United States

Gene Tierney, as a fiery woman, driven absolutely mad by jealousy. The latter leads her to tragedy beyond the human realm of comprehension.

Cornel Wilde plays the man who loved her dearly and suffered for her actions.

Vincent Price is in top form as the prosecuting attorney at her trial.

A terrific performance by Tierney who received a well-deserved Oscar nomination. Apparently, it was her misfortune to run against Joan Crawford that particular year for "Mildred Pierce." The voting here between the two must have been tight at best.

The film has excellent cinematography with vivid images left in the minds of the viewers.

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