LANA TURNER knew a good part when she saw it. And there was even a courtroom scene that she could savor while she recalled her own real- life courtroom drama a decade earlier. She digs into the script with all of her being and gives one of the strongest performances of her career. Unfortunately, her co-star, John Forsythe, is all but invisible in a thankless role. But because the story was an old chestnut that had been done many times before, Hollywood seemed to turn its back on her work and she received not even a nomination for this, one of her best roles.
At 45, she was really too old for the early scenes depicting her as the young bride of a wealthy political candidate, but her make-up is expert and she looks radiant. She is soon to be undone by her mean mother-in-law, a youthful looking Constance Bennett (who, incidentally, just had a face lift before starting the film, much to Turner's distress). The plot has Turner getting involved with a playboy (Ricardo Montalban) who gets too serious before she decides to ditch him. She rejects him and an accidental fall down a steep stairway ends in his death and leads to the mother-in-law's scheme to get rid of the unwanted Turner by sending her into exile and making her give up custody of her young son.
The suds get thicker as Turner turns into a lonely woman who can never forget her past and the son she left behind. After an irrelevant episode with a concert pianist who wants to marry her (Curt Jurgens), she hits the skids and ends up boozing it up in Mexico with an unscrupulous Burgess Meredith. At this point in the film, Turner really does the kind of emoting that should have guaranteed at least an Oscar nomination. She pulls no punches in revealing with gut wrenching honesty what she has become under the influence of alcohol, bitter self-contempt and loneliness. It almost comes as a relief when she reaches for a gun and shoots Meredith when he plans to use her for his own ends.
Her acting is further strengthened by some courtroom scenes that show the ravages that her wasted life have done to her once lovely facade. And her expression in court, when she realizes that the young lawyer defending her is her own son, says more than a thousand words of script. There are moments throughout the film where she does some of her best acting since PEYTON PLACE.
She is wonderfully supported in the final scenes by some excellent work from Keir Dullea, who shows great sensitivity in his dealings with the woman he only knows as Madame X. His final line: "I loved her from the moment I first saw her" is guaranteed to make the eyes tear after Turner's emotional courtroom outburst. Constance Bennett is efficient and cold as her mother-in-law but John Forsythe has such an underwritten role as Turner's busy husband that his performance is as wooden as any he has ever given. Luckily for him, he found his niche on television.
By all means, if you're in the mood for a good tear-jerker and would like to see Lana at her best, this is one that you can't miss. The background score by Frank Skinner adds greatly to the story's effectiveness in wallowing in those soapy suds, reminding one of the days when Max Steiner would have been called upon to do exactly that for a Bette Davis film.
At 45, she was really too old for the early scenes depicting her as the young bride of a wealthy political candidate, but her make-up is expert and she looks radiant. She is soon to be undone by her mean mother-in-law, a youthful looking Constance Bennett (who, incidentally, just had a face lift before starting the film, much to Turner's distress). The plot has Turner getting involved with a playboy (Ricardo Montalban) who gets too serious before she decides to ditch him. She rejects him and an accidental fall down a steep stairway ends in his death and leads to the mother-in-law's scheme to get rid of the unwanted Turner by sending her into exile and making her give up custody of her young son.
The suds get thicker as Turner turns into a lonely woman who can never forget her past and the son she left behind. After an irrelevant episode with a concert pianist who wants to marry her (Curt Jurgens), she hits the skids and ends up boozing it up in Mexico with an unscrupulous Burgess Meredith. At this point in the film, Turner really does the kind of emoting that should have guaranteed at least an Oscar nomination. She pulls no punches in revealing with gut wrenching honesty what she has become under the influence of alcohol, bitter self-contempt and loneliness. It almost comes as a relief when she reaches for a gun and shoots Meredith when he plans to use her for his own ends.
Her acting is further strengthened by some courtroom scenes that show the ravages that her wasted life have done to her once lovely facade. And her expression in court, when she realizes that the young lawyer defending her is her own son, says more than a thousand words of script. There are moments throughout the film where she does some of her best acting since PEYTON PLACE.
She is wonderfully supported in the final scenes by some excellent work from Keir Dullea, who shows great sensitivity in his dealings with the woman he only knows as Madame X. His final line: "I loved her from the moment I first saw her" is guaranteed to make the eyes tear after Turner's emotional courtroom outburst. Constance Bennett is efficient and cold as her mother-in-law but John Forsythe has such an underwritten role as Turner's busy husband that his performance is as wooden as any he has ever given. Luckily for him, he found his niche on television.
By all means, if you're in the mood for a good tear-jerker and would like to see Lana at her best, this is one that you can't miss. The background score by Frank Skinner adds greatly to the story's effectiveness in wallowing in those soapy suds, reminding one of the days when Max Steiner would have been called upon to do exactly that for a Bette Davis film.