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Commentary by Christopher Mankiewicz with Joseph L. Mankiewicz biographers Kenneth Geist and Cheryl Lower; "Linda Darnell: Hollywood's Fallen Angel" as seen on biography® on the A&E network; Movietone News footage (Oscar® Presentations); Restoration comparison; Theatrical trailer; Full frame format (Aspect ratio: 1.33:1); Audio: English stereo; English mono; Subtitles: English, Spanish
Full Product DetailsSide #1 --
1. Main Titles [1:14]
2. Brad and Deborah Bishop [3:40]
3. Rita Phipps [2:19]
4. Talking About Addie [2:05]
5. A Letter [:52]
6. Debby Reminisces [2:35]
7. The Country Club [7:40]
8. Dancing [3:02]
9. Rita Wonders [5:11]
10. Entertaining [3:06]
11. The Radio Show [2:12]
12. After the Party [9:07]
13. Lora Mae Reflects [4:22]
14. A Picture of Addie [6:40]
15. New Year's Eve [3:17]
16. After the Picnic [1:49]
17. Brad's Not Coming [14:09]
18. Porter's Confession [2:07]
This 1949 drama is a superb example of the glossy entertainment that big Hollywood studios once turned out effortlessly, without enormous budgets or media hype to make it “important.” Written and directed by Joseph L. Mankiewicz (All About Eve), it centers on three housewives in Westchester, New York, each jealous of the soulless she-wolf who grew up with their respective husbands. The vicious temptress writes a letter to all three wives (played by Jeanne Crain, Linda Darnell, and Ann Sothern), claiming to have run off with one of the husbands but refusing to say which one. The suspense is unbearable, not only for the wives but also for the film’s viewers, who get the chance to figure out which hubby is most susceptible, based on flashbacks involving all three couples. Mankiewicz, wisely, never shows the Other Woman, but her voice (reading the letter) is that of Celeste Holm. A young Kirk Douglas is memorable as the sober-minded professor of literature embarrassed by Sothern’s writing of soap operas. Stage actor Paul Douglas (no relation) makes a strong feature-film debut as the blustery, not-too-bright tycoon married to Darnell. The three female leads are terrific, with the often-underrated Crain turning in a surprisingly affecting performance. Script, direction, acting, and production mounting -- much of the movie was shot on location in New York -- are all top-drawer. This is one of those films that always elicit remarks like, “They don’t make ‘em like that anymore.” And indeed, they don’t. Ed Hulse, Barnes & Noble
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