TomJH

I was hoping for Underworld on TCM, as well. The Criterion version is a little too expensive for me, so I've yet to see that film, as well as the Chaney vehicle.

Thanks, gagman. I hadn't heard that as much footage was missing as you stated (two reels being the equivalent to about 20 minutes, I figure). Still, there are a few reviews of it on the IMDb so some have managed to see it and be quite impressed, especially by Chaney's performance. TCM would definitely get the attention of silent buffs and Chaney admirers if they could have a premiere of this production, which sounds like it was paving the way, along with Von Sternberg's Underworld, for the gangster sagas that would soon be populating early Hollywood talkies. 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yfms6sYReahbI5IHmrnHYZFarfafJot61vJzGeUb3FByihrR2H4l5oW6mnmgjt4HKtK2C3sO5om3YF2iH8wr7TYN1yNx4TP8ASg8sH06zZIUYAg5JY5LN7k1Yobi2MYwyDjuaq83h23vfPQrtYk4dTgj86sNHFunkyW3nsIyo3Ocs3Y5H50BPiRYZLd9joSeOGFZvr2iWnlho59sncFqtrWULN5bWsluysMgytgjuBwcVR9diZ2Zbe2MbscFnlLbf2oEsVqY59qkN2OKs2gWHKarp1nICyF9z/APFTQ/hrS4ohLJM/mEDqas32XxCfWLu5I4hURrn5JJ/tQazEirEqquABgCo5VCqSRxUyvhOtQzESRMpbGRjNAtjEcs7CVwDjIWqb4omig1JJIWBCttbHzTz/AKdVGmmjmYXcpOZsnOPp2qnyeH71JrqJZmmaaQZeR8BR7gUF100mSzxIuVPTNA32j2xYv5SnPXimsMa21lEgbJVQCaCurg7SCaCneIYbe1sJVRAoAJwKy6Vc3JyvpBz/AHrQvHN1stWUHlsiqFeOFiaPneWGf0oI7OSNJMtwAOPmpcrFJkICW75oOCJpJVQA5J7U2OneUOQc993WgCMpLg4qUo5GQKJhtRuBI6Ud5aCPpQAW4KqM0TGRg14wx0rqIcGgJt87xR2aCtxmQUx2LQUX8qvHgXOxOwqjbuelX77PdrLJuHQDtA21OfyroD4pbcv5jhuvFMfEEG6/URrk7e1CiKOBQZSu75PSg5a7jt4VL53Y6CktxO9xIWf8hRGq3KPtWMA+KBjc7yGHBoCtOk8m6R8dDzWRQxeKvC1vPHg3UceAf/yHY/WsCjIDA4rTvsv8Rrb3f3GVsRTYHP8AK3Y0A3mm1uNsqlJIzhgaNkmEbiaP8D8GrP468OLdwNf2qATIMuB3HvWdW18Yyba44HYmgs9nciMHd3PtRT3MZGRncOhBxSG0uldwkmPzpvAkavk8jtmgQ61cTyuWbPAwMjpVO1JZJHyQefetI1hYnG3AJxyaoeuMtqCc8npmgTNd/c7eRRjgEfnVtx4FtPvZiPU839qpKPFIS867kzwuf3q9fZ1ewQfaxAAMQ4FBo8hOPaqvrviqPTn8iKMzXR/DH0C/JNWVH3J04oC8023vQ3mW0bk9yoztBVl13xEsRYWtrOWPp8qRW2/oagg1d55/KvIWt7k5IVhgP74pheeF4uQtqmMdQtKn8NW6yqzBw6HKo8UDG7Z4QvPFL7cqpoo4hjAHtSnUpQI2Le1Bn3i69M1wo6hW6VX2bzJNzDPNH62rzXjlFJC80AIpQwBU4NARbKY75WXpnIpw64G4uGLc8HNA20e0b3GWPH5VOCM9KCReO1eSP6favh0qOU8dKDwHPWpY8AVAGxUsbcdKAy3OHozzKXwsS/SjM/SgqUFvNcyiOCJnc9lFXfw1ay6REWnK72/lHapora2tYQlviMfTk/U964dJDkpJkUDC5vHuFY/z9IJZndipOCDyKMhuHik2yDINC6nEIbkTIR5cnt2NBA0WRkHnrXjwFgGxgjvUqtuwe1TNgx4A7UA8Tdm7UVZ3bW0yvGcMDwaAJ2Ek45qSHn1Z6UH6A8DeKIdcsls7ph96VMYPoP9Ub7QfD0unXpaA4jk9Ubf2qhWeqXVhOlzayskiHKkHvWk6b9pei6/p33LxJH5EhGBOq5UN74oM5k1a8smC3CHA6OtMrXxqyIElG4e460TqejT3LObBYr63J9Mtu6uDnI/Oktx4VmsYnu9TZLSJBnDtkn4xQH3njIHLlG2gdTVfuNUXV5GdnKopAx9arp3LTSZUMISSUz1Pya80yQCR4z0ZaCe4eWwuHgLbl6gn2pjoesyWd0ksZ9a8j5KSahI0sisxztXbn6VFbyFXGKD9AeGPFVlqlqMSqJBwyMeQatNhPFIMhlIr816Vci21iJ9xVJfSxB6Z/81erfU9b0t22EzRjpmg2G4kjwcYqtapNGH/lqlHxvdgbZIyD3pZeeJJ7hjhtuaC3Xd2gU5Iqq65qabSqnOeAPelNxq0zpjcWNCR29zdtv2scdPighuDulycdKntdKu7yNpbaEsq8nnn8q70vSbm71Bkdisa43HGcVfbCx8gj0KiqBnI/tQZvsIJBHIr4DB6VbfF2mRK5vbKIBG5fYcj646iqpyO1BIF4FRSqMV3u4qOVuOKCPAFdr06VGuO9SKQBQE249dG4oCAqjdwoHVzbFFzIoA7MvNKrhZrZlKkFG5BFG2mo4JjuPUh7Zrm5/guYyDJbSdD7faAB5vMGCMkdDUUZ48dMdKJltTEThwUIyDQu0lcgg0EMLmNsNzRPnY6DKn9qEmB25HUV9ayZODQFvCrkMnIJ5K5eMpzztH71I2XYKp2n3HtXk8v8AKOQBjNAJOw6DilUoCT7eQr/1pk4JPNBXyny9w6ryKC4eG/s91XVNLXVNF1aISKeY8sjoR80m1rUPENit3oqXcpcemVJGDAjrwf1OPs28Wy6LebZGzbTDbIuenzR32v2ERe01m3wy3KeW5HuBkft/SgzzWNptLAqMHyjn9aX24KzKaluZXkSNW6IuBteqcBD7Cg8mB39OM1CUKPx07UQ0gcfNad4D8O6Re6LBeX8CSt5pHq7HsD8UGXSgjYQMVrPhK7XUdKgkfBcDY4RVP0LSrXTNXSPT1IgdcjJHXvge1WX7PNIvrXTZLyf0QyEbUPX60De/wBEtbgE7MH4pHN4XJbESRV68rzEBFeLaspycUFPs/CscZDTjPxTWSxhhhKxoBVPZFAGKGe3MzLGv8xxmgE0LTFt7ZppOBMWzhTuz2xj6UdPGwcQrtVxkKSc5B/f60xRPJTMMewY2yAgg8deOnfrXIgREZpZB5Y5EpbcVI7Djnp/WgrU10o1eCwjjLK48ydGG0bcZ7irEng3S7zL3VnAu/8KxLswPyPPFK/Ddusk1xqrndvnKRyyZ3bOgA/arKkkwJTeBghlAf1e3PvQIr37L9KmBNtcTwH2JDgUg1H7KL9IybK9glPZWBQn1aN96aIrvK5bg4zjPWon1R1PlqA0i8sC/IH5dT8UGDavoOpaNLsv7Z4/ZjyrfQ9DQCAjmt1u7lb3kttQtkeN2wUYZBh/wDcdKyzxb4dbRboPCS9pKcxue3wfkUCKH8XFF89DQqc5ovFBLNGQScV1DO8kZgkb09uOh964d2GQp3D27ioWlAyVPNBK8z8xHtxQru0UnXg1zcXLF0c46Yb1TKVuI88Fh9B2AroSO/tSsFobgqTwTkUXHI0Uu09Ki1Jdy7wPUvIoCy5CcHk1QFyT1571xbTCaIAmvHwrEZoPd3PH51DccofpXqvk4rwtQB2UhSRlzimGr6xeXNrb2M0pa3iJZAfc8UqlPlXAI45ou5USW8YyhyKBc6mSTag5JwBTKfRdQt0gWS3bdLwgAySfaiPDOnzXmoLOq/w4WyWxxmtQ01EOqW887q6wDcGI6HpQZ5aeAvEs7hRpcy/L4XtabBoOrWWlWllbWrqI1VpdpGCw61c4rlXi3hVcHuowa6/xHy8BTn3DUGK6vo2qP4t8XFhOkAKsGdCVx75q5XeoCy01F59eET2zVmvdTiUyfeMIGGDgcMKo2qzRXmpwRRv/APHiBZARglqB5ZXWYwc9aOEoYZBpNYKc7KOVWRtp4oJ2O41Paxh5hx29JxnmuY4iCaj1DV7DR4sXhJLj0qByaBpHGzkyyBty9UAzuHTgGkvijVmt4haWpJubj0hAwPl9ieKXjxddajIItNsA02f8wjIXP7d9PNG0B4J/8AEdTkFxdsey5ABHTHv80E2jaeLOwjiXHEe15FOQGGcnFMEUrgvvP4hyNxb6EVNKVC4bbjbv2leV969HlmNipGHXOFPP5CgBkQl2hRxGzE7fLOD06mvXiPllkRZFHMfOfXY0asbMzSAK2AduU9QauJViEigpsZf4mQgwxxz70CSe22gKgbEa5KunTOSDkDr1pLqlqNQsJrObPrXfEDzsbGRyf0qyXaKBiTYS54l/CcAZBPHb2pXcbjMSzKqnlc9SPfOaDIijRSsjDBU4I9jU1M/EUCxatIwxh/Ufr3oHA9qCOVe8bYNQAksQAcdfepLhWU7kO4VB5gxlsZ96DmZAyEUPZSm2m2MeP5fpU7Ov8poG8PAcfiU0DG9/EGGK9bEsfJHIoYTia1UkcgV1A4KgZ6UAtv8Awrl4u2ciipgSue9DXyXIkq9j1To4ePPUdqCEn5rnJ7nGa9cgNnNcOeOtANdjOSTRNuwe2OT26UPLyOeam02IzssK9XcLQXfwhAbfR9xAyWpnpLXN9eXMcLKkaoAzt0FS29utrYBePSMcUBa2s8InEcjBZ2yy0FhsdYTRzDbtdtOCcOGOcfNXa3EF7CsseCCODWSxIIrj1c4PNXXwhqipK1lI4yRuT/tQM9Wsg6kGqff2O1sqMMDlT7GtJnjWZMcc9arpWC8hR9aBLoUyzsQ2BInUU8ng3FWB4qryK1ndCeMEMpww/wBwqz2d1FcRKyMCGGRQFwx7Vxmq/wCJdGttS1Ww84okq2T/KP/AHH51ZExtzmgdJjGpancXhDGKP8AgRcZVsckn88UDSwtI7VF8sKkgGNoIx75Pziil49alWkBKsRkftXaRMVP4gTz5igcj2K+VN3qYHZjk7sEEe9AJNGQ8KKJAWfHHYDv8jnpUkiSMEjCJIBkMH9JPwKhVNoOTtUIgQIG5z1GDlGQIHdtzsjEgbWbjjHSg7SGMKAwMZA353dD3qKdvLDDKSFjkJvIJU8UaXOH2SRuc4Xtz7GhRbHbuUPHKRkZBwMdvpQLvKZyJIzkyYBQ4YYBxnr7Uq1mHbIfJjG2D/cD71YggMrSPhShKqem7jvx0zSKSaO5mliZmaXzCCFI9ZxROKDPfF6j70rKONx56jnmkO75rRLrwx/jaMkdysEkHRXT8efmk3/Qeq/7Y/1oKdN6WyjYPtQs7K/4l2nv80VNI/WhZe9AK6FBlDkUNLIWzmiz0P1oSbrQS2OdjrnvUkWVJ5qKy/zHlS/wCpdB3crvQg0PaMQNhPK0U/Q/Sg14uD9KCVwMnPeoGyCRmppf71w/4RQQMDjrROjMUv4jn/UBqFv71NpP/ANfH/wAhQafYnzSUbnIzTCS3VYSV5NLdM/zj/wDrphMTs6ntQJ5oB5uQM460IbiSC9WaFtrRnIacXAATgfy0huv5UGlHtZXVLSOZG56MPY01uIDIpbFZt9njN5867jjI4zWopzDzQVXULEMThevxS332MuHyImPX/aatt6Bs6DpSTV1BtHyBH2oPr68kMKWdr6ri49Ix2HvVk0nTYbCyjgUDCj1Nkpu/71T/BBLapI7EllVcE9RyK0W25m5oImXJCgJgcrx2a8ZQwATbs6D08g/zRAJzGcnknP715fEqk4BIwnGO3WgQ2aTvJcTgqzySHaCvCgcZH5U1jSTyxGhw5UEZUrj3P1oTTP8AJP1U/vTvALDIHAJHxQQCEbsyDGw7gcZB/aop1LEROAS2V3AgHFdykiyGCR0/rU1sd27dz6sc/SgSak5Kx2YbKyADeQMZ9zlJmUQX8Q3Kq7QN2N3P9s/NN9MJa/ugxJAY4z25NJ7z03EYXgLnaB2+lB3OZbd5Li12SOp3FNxwyDnH1xQn/Wy/wD20/8A6pxqfotxt9OIsjHHes/2L/tH6UH/2Q==!

Today TCM had an eight film tribute to silent legend Lon Chaney, as well as a TCM produced documentary from 2000, Lon Chaney: A Thousand Faces. Chaney's 1928 gangster saga, While the City Sleeps, is the only one of Chaney's MGM silents that still exists that the channel has never shown. The documentary had a few clear, quite beautiful clips from the film, though a few others scenes show some problems with decomposition. Still, it is NOT a lost film, unlike London After Midnight and the actor's last silent feature, Thunder. Would anyone know the reason why TCM never shows While the City Sleeps?

Please allow me to echo your appreciation of the multi talented Mr. Cregar, NoraCharles. A sensitive, gentle giant, Cregar's screen villains, even when psychotic in I Wake Up Screaming, The Lodger or Hangover Square, could, at the same time, evoke genuine audience sympathy. But, in contrast, on a rare excursion into suave, sophisticated humour, he brought an elegance, along with sartorial splendour, to a performance of Luciferian delight, in Lubitsch's Heaven Can Wait. And his larger-than-life screen presence could also bring colourful, flamboyant flourishes to a pirate captain-turned-governor in The Black Swan or a pompous bullfight critic in Blood and Sand. His early death no doubt robbed audiences of even more memerable screen characterizations but it would be lovely if TCM decided to celebrate those too few performances Cregar did leave behind. 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! A desperate cornered beast in The Lodger; a moment in which he is frightening and, yet, evokes a touch of audience pity for his character Heaven Can Wait - one of the most civilized and dapper screen Satans

From The Man Who Shot Liberty Valance: James Stewart as Ransom Stoddard: "You're not going to print the story?" Newspaper Editor: "No. sir. This is the West, sir. When the legend becomes fact, print the legend." ----- Last line in the film: "Nothing's too good for the man who shot Liberty Valance." ----- John Wayne as Tom Doniphon: "Whoa, take er easy there, Pilgrim."

I saw Little Big Man when it was originally released, and have always liked it. Chief Dan George brings great dignity, as well as gentle humour, to his role, providing a lovely performance. I do cringe, however, at the broad cartoony characterization of Richard Mulligan's Custer performance, however. Only the surviving Indians were around afterward to give their accounts of the Last Stand. Seeing Mulligan's vainglorious lunatic characterization as Custer there is a major poke-in-the-eye blemish in the film. Even if it is a film about legends and myth making.

*NoraCharles1934 wrote : Just for something a little different - Claudette Colbert and Don Ameche's "divorce" proceedings at the end of Midnight are quite fun.* Certainly there aren't many other courtroom scenes in the movies in which someone decides to shave in front of the judge.

dpompper, I never tried to imply that you did say that Browning and Adams appeared on screen together. I was just wondering out loud, so to speak, if my understanding of the making Creature of the Black Lagoon isn't true: since all of Adams' underwater scenes, I believe, were doubled, her only on-screen co-starring moments with Gill Man would have been when he was played by Ben Chapman. My understanding was that Ricou Browning was smaller than Chapman. However, in looking them on on IMBd, if it is correct, Browning was 6'3" and Chapman 6'5". Not a huge difference. Perhaps it was because Chapman had to carry the actress a few times too, for the film's "Beauty and the Beast" moments. Who knows, however, who was in the Creature's costume in all those great publicity shots with Adams posing with the Creature. Was it still Chapman? He passed away five years ago. I suppose that only Ms Adams may be able to tell us. So who's in the costume for the film's publicity shots? Was it still Ben Chapman, who played all the land scenes in the film?

Eugenia, Laughton could be such a ham in many of his later film roles but when he had a good part and was at his best, such as in Witness for the Prosecution, I think he's an absolutely brilliant actor. His performance as Quasimodo never fails to touch me. I can weep buckets watching him in a couple of that film's scenes, particularly after his character has been flogged in public and when Maureen O'Hara, as Esmerelda, is the first person to extend an act of kindness towards him by giving him some water. The combination of shame and gratitude that Laughton has on his face at that moment has always stayed with me. My apologies for digressing from this thread's theme.

dpompper, I'm ready to be corrected on this. However it's my understanding that Julia Adams and Ricou Browning don't really share many, if any, scenes in Creature. That's because Browning did all the underwater scenes (some of the film's true highlights) and I believe all those scenes with Adams were, in fact, with a double of her's. It's really Ben Chapman, playing Gill Man on land, who shares scenes with the beauteous leading lady. Am I wrong?

I would second the nomination of Billy Wilder's Witness for the Prosecution. It's a courtroom thriller with some genuine twists at the end which I think that most viewers will not see coming (certainly I didn't). And how many actors playing barristers in the movies can seriously compete with the wily fox played by Charles Laughton in this film? This was a late career triumph for the actor, conceivably his best film role since the 1930s.

I also wish that Esther Williams had not made those statements about Jeff Chandler. I also know of no one else who has ever confirmed her allegations. In that respect, who knows whether to believe it or not.

I found this picture taken on the set of the film. Julia Adams is having an injury tended to by a nurse. I like the concern of everyone on the set for her, including Gill Man!

Thanks, dpompper. I believe that Browning was a much smaller man than Ben Chapman.

One of the many charms of this film is its innocent sexuality. Few ladies in the movies have filled out a one piece swimming suit with quite the same satisfactory results as the lovely Miss Adams in this film. Few red blooded males can quite blame the creature if he does act a little obsessive over this lady. It's too bad Alfred Hitchcock didn't direct any of the sequels. He would have probably had Gill Man find a blonde Julia Adams, want her to dye her hair brunette and wear a bathing suit exactly like the one in this film! And now here's a scene from the Hitchcock-directed sequel, Vertigill: Gill Man: "That's it! That's it! That's the right swim suit." Julie: "Now, Gill, will you love me?" (Yep, this could have been a humdinger of a sequel!)

dpompper, that would have been great to meet the two surviving (and most famous) stars of the film. I don't believe you stated which "Creature" you met though, whether it was Ricou Browning (the underwater version) or Ben Chapman (on land).

Dargo, I think you misunderstood my point. I don't care that Creat died in the movie. I'm only sorry that he didn't star with Julia Adams again. And, yup, I'm pretty well as shallow as I sound.

I feel profoundly sorry for Gill Man at the end of the film. Even though he would be in two film sequels, he would never again have the opportunity to appear with the lovely Julia Adams.

Dargo, old boy, that's a good one (and gets me all teary eyed for Reggie Van Gleason, and the rest of the characters created by the Great One).

Looks like a good time to revive a few jokes from an old thread of mine: Come on, baby, don't be like that. You KNOW you want to dance with me! You'll have to call me later. I'm kinda busy right now. Yeh, I was afraid of this. The rubber suit fumes have finally got to Harry.

As a long time admirer of Robert Greig's portraits of servants, please allow me to relate two of my favourite Greig moments in the movies: 1) *The Moon and Sixpence*. As Herbert Marshall's butler, the large-stomached Greig has a sequence at the beginning of the film in which his character is seen constantly bending, with a great grunt, in order to retrieve items dropped on the floor. Each time you can almost feel Greig's pain as he is forced to bend over. Not exactly the 20 Minute Workout, but the closest that I can ever recall seeing Greig come to a genuine athletic endeavour in the movies. 2) *Sullivan's Travels*. In one scene towards the film's beginning, Greig, as butler Burrows, has some wonderful dialogue which he delivers with relish, warning his naive boss and Hollywood director (Joel McCrea) against the latter's plan to go out into the world and pose as a hobo. Says Greig, "You see, Sir, rich people and theorists, who are usually rich people, think of poverty in the negative, as the lack of riches, as disease might be called the lack of health. But it isn't, Sir. Poverty is not the lack of anything but a positive plague, virulent in itself, contageous as cholora, with filth, criminality, vice and despair as only a few of its symptoms. It is to be stayed away from, even for purposes of study. It is to be shunned!" (Considering what was about to happen to McCrea on his quest, he should have listened to Greig's denunciation of his plan.) This is not the usual kind of dialogue, I think, that one associates with butlers in the movies. Greig, I might add, also scared the hell out of me when he delivered it.

*From Kim Novak's page at Wikipedia -* *+"From 1956 to 1958, Novak was listed in the annual "Quigley's Top Ten Money Making Stars Poll", a list submitted by movie theater owners at the end of the year, containing the names of the stars that they voted as being the top earners at the box office o Consider your source - Wikipedia. The Quigley poll is one of the chief barometers on a star's popularity. Novak made it in the Quigley top ten list once, in 1956, at Number 9. http://www.quigleypublishing.com/MPalmanac/Top10/Top10_lists.html Possibly, as you say, Robert O. was referring to some other poll, such as a fan magazine. Then again, maybe he was just being nice to the lady.

You know, James, I like the fact that Warners gave Sheridan a stronger dramatic vehicle like this. I don't find her character annoying the way you do. But to me Ann Sheridan will always be one of the great '40s female shining lights when it comes to the delivery of at-times acid tongued smart one-liners. Sheridan's real finesse was when she played in comedy such as Torrid Zone or Man Who Came to Dinner. Or when she was allowed to pull out the zingers in They Drive By Night. There was also a soulful quality about her characters that could be most appealing, in films like, again, They Drive By Night, or Angels with Dirty Faces. Seeing Ann Sheridan hold her own as part of that great ensemble cast of character actors in King's Row showed that, with the proper dramatic material, she could be effective there, as well. I don't think that Warners ever really did a great followup on her dramatic potenital shown in King's Row. She and Jimmy Cagney were one of the great screen teams, though I think that she and Errol Flynn also had strong chemistry in Silver River. The Unfaithful came almost at the end of her Warners contract, and it's a decent film, with a pretty good performance from the lady, I feel. Still, when I look back on Ann Sheridan's Warners career I'm filled with a feeling of largely unrealized potential. Torrid Zone, They Drive By Night and King's Row all show what a great performer she could be when she had the right material.

lavender, we're pretty much in agreement on this one. Except for the fact that I think it is fair to compare The Unfaithful to The Letter. That's because the latter film did take essentially the same story and characters as those other two versions of Maugham. I think that Jeanne Eagels performance makes the first version interesting, particularly her final confrontation scene in the film with her husband (though the ending is very abrupt). Wyler's version is a classic. The Unfaithful, while not exactly a remake, per se, was still Warners borrowing the same property for a modern day variation. You could compare the two films to discuss their differences, as well as similarities. I think Max Steiner makes a great contribution to the Wyler version, but also creates an interesting score for the Vincent Sherman/Ann Sheridan version, as well. Under the opening titles of the '47 version you can hear two different themes by Steiner countering one another. I think that's a reflection of the storyline in which the setting of the film appears to be in a conventional setting of "normalcy," yet the other, darker theme, reflects the duplicitous activity of Sheridan's character.

The Unfaithful works quite well in my opinion. The performances of the leads are all quite sympathetic (including Zachory Scott, cast a bit against type), and perhaps its modern setting does makes it easier for many viewers to relate to than the Malayan setting of The Letter. BUT it's the very exotic setting of the 1940 version of The Letter that, along with the tremendous studio craftsmanship of the production, makes it infinitely more compelling viewing, in my opinion, than the '47 variation on the same story. It makes The Unfaithful seem, well, ordinary by comparison. There is NOTHING in The Unfaithful that can compare to that magnificient opening of The Letter, the combination of William Wyler's direction, with James Wong Howe's moody black-and-white photography, as the camera slowly explores a Malayan plantation at night, with the workers all settling down in their hammocks. The quiet of the night suddenly explodes with the reports of a gun firing, as Wyler has the audience see a man stumble out onto a porch with Bette Davis following him and repeatedly firing a gun at him until the man collapses on the ground and the gun is emptied into him. There is a moody shot of the night sky, accompanied by Max Steiner's dramatic musical score, as Davis, eyes wide, stares up at the moon, almost peering at it like a witness to the murder scene. There is nothing in the quite admirable '47 version to compare to that. Much as I like Ann Sheridan, nor can her performance compare in fascination to the tightly controlled acting of Davis as the master manipulator that she plays in the 1940 Letter. And, yet, at the end, the audience is curiously sympathetic to the murderess who later confesses to her husband that she still loves the man that she killed. The 1940 Letter remains one of Warners' greatest achievements of that or any other decade in the studio's history. If there was ever a film in which the often flamboyant Davis gave more by giving us less it is in this highly restrained performance, under the guidance of her favourite director. And who can forget that glare of hatred towards Davis that Gale Sondergaard provided as the murdered woman's husband? And there is also the magnificent performance by the massively underrated James Stephenson, as Davis' attorney. His beautifully understated performance captures the conflict that his character feels at gradually realizing what a cold blooded person he is dealing with in Davis (while everyone else regards her character as courageous and innocent), at the same time assisting his client in suppressing a key piece of evidence that will possibly help a murderess escape the penalty of the law. Stephenson died just two years after this film was made, and I feel that a strong character actor career was possibly in the future for him, based on this performance. This is to take nothing away from The Unfaithful, a film I quite enjoy and appreciate including, yet another Max Steiner score that is quite effective. But The Letter, in my opinion, blows that film out of the water cinematically.