Mae Doyle comes back to her hometown a cynical woman. Her brother Joe fears that his love, fish cannery worker Peggy, may wind up like Mae. Mae marries Jerry and has a baby; she is happy but restless, drawn to Jerry’s friend Earl.
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3.5* Barbara Stanwyck and Marilyn Monroe in a Fritz Lang picture. I have no idea why it took me until 2018 to see this but now that I have, I can cross it off my list. Stanwyck and Fritz both seem to have been on auto-pilot for this one. Marilyn is the one who shines here, but mostly just in one scene at the beginning of the film. Watching this isn't the worst way to kill 105 minutes, but not the best either.
Dynamite picture that features equally strong performances from its 3 leads: Barbara Stanwyck, Paul Douglas, and Robert Ryan. Lang's direction takes a standard love triangle picture and gives it a degree of heightened sexuality, danger and perversity. '....Home is where you come when you run out of places...'
This is an interesting little film noir that feels more like a melodrama at times, more in the tradition of Kazan or Sirk, than that of Lang. Barbara Stanwyck gives a powerhouse performance and the supporting cast is solid too, especially a sleazy Robert Ryan and strong willed Marilyn Monroe. An interesting gem.
"I'M NO GOOD" LANG is fascinated, frightened by women, by the contradictions of the female soul, doing the opposite of what she desires, as if to exorcise its inevitable arrival. He sees the good & the bad in them = FL est fasciné, effrayé par les femmes, par les contradictions de l’âme féminine, faisant le contraire de ce qu'elle désire, comme pour en exorciser l'inévitable arrivée. Il voit le bien & le mal en elles
Classified as a noir, it is really more straight drama, although Nicholas Musaraca's photography certainly adds to its noir credentials. There are some outstanding performances here where actors play horrible characters. Even Marilyn Monroe shines in her minor role.
This psychodrama among fishermen is a disappointment for the hardcore Fritz Lang fan. But be reassured, CLASH BY NIGHT is nevertheless way better than HUMAN DESIRE shot two years later by the German master. The theatrical origin of the screenplay left important traces such as long existential dialogues that don't have aged very well. A DVD zone completists only.