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Phantom Lady (1944) Dir: Robert Siodmak
Production: Universal Pictures
Scott Henderson (Alan Curtis), following a nasty fight and split with his wife, looks to drown his sorrows at the local watering hole. There he spies a woman in a similar emotional state and, looking for some companionship, asks her to a show at a club to get both their minds off their problems. She agrees, but only on the condition that they keep their names to themselves. Sure enough, when Scott gets home he finds the police there, waiting to question him. His wife's been murdered. Where were you at 8 o'clock this evening, asks Inspector Burgess (Thomas Gomez)? But Scott has an alibi, right? Only he doesn't know the woman's name. And the bartender remembers Scott but not the woman. Neither does the cab driver. Nor the drummer (Elisha Cook Jr.) at the club. Even the dancer at the club, who Scott clearly caught looking at the woman (they were both wearing the same hat), won't acknowledge there was someone with him. Something is going on, but whatever it is Scott is helpless to defend himself at a trial and is sentenced to death for his wife's murder (on the flimsiest 'evidence' in Hollywood judicial history). It's left to his loyal secretary, 'Kansas' (Ella Raines), who's later joined by a sympathetic Inspector Burgess, to find out the real killer before Scott is executed.
Phantom Lady is built on themes that recur, almost compulsively, in Woolrich's work. For example, the schizophrenic antagonist is also seen in Black Angel and The Leopard Man. Additionally, there is the character who becomes mentally unhinged by the death of a sweetheart or spouse as found in Rendezvous in Black and The Bride Wore Black. It can leave a viewer feeling like he's treading on well worn ground. But in the right hands, the feverish plots, sorry dialogue, the narrative inconsistencies, all are beside the point. Fortunately, Phantom Lady was being guided by sound hands.
This is Siodmak's first noir. He would go on to distinguish himself as one of the, if not the, preeminent practitioners of the style (The Killers, Criss Cross). Here he is fortuitously paired with cinematographer Woody Bredell (they would be reunited on Christmas Holiday and The Killers). There is some great storytelling done in the camera. In one shot, the deteriorating mental state of a character is shown as he sits in front of a 3-way mirror, suggesting multiple personalities. The same character, who is an artist, has Van Gogh's self portrait with the bandaged ear hanging on the wall in his apartment. But what Siodmak and Bredell are really doing in Phantom Lady is practically creating the look for noir. Released very early in 1944, it's all here; the wet pavement, the bags of atmosphere and dread, the sharply contrasting b&w, the wildly expressionistic versions of reality (when Kansas visits Scott in prison), the discordant shafts of light, etc. It is a terrific picture to look at.
Franchot Tone aside, the cast, as well as the subject matter and relative inexperience of the director (and presumably, the budget), suggests 'B' movie ambitions. I thought Tone was a little hammy. Alan Curtis (High Sierra) is not up to much, and actually comes off pretty weak in a few scenes. Ella Raines is mostly good (and quite beautiful). Her 'sex scene' with Elisha Cook Jr. is so delirious it has to be seen to be believed. Another standout scene is when Kansas goes after the bartender to question him. It amounts to a chase scene, as she relentlessly dogs him through the streets, with a stop at a subway station. Some real good tension in there.
*** out of 4


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