This neglected film noir gem by the great Otto Preminger is better and more poetic than Preminger's previous classic "Laura". For one thing, Preminger's fluid camera work and long takes here reach perfection, pointing them toward his mature long takes and objectivity in 1950s with such dazzling masterworks as "Where the Sidewalk Ends", "Angel Face", "Anatomy of a Murder". Each scene is shot and elaborated with precision, with minimum amount of edits to elucidate the emotions of the characters.
Also, Dana Andrews, with all his unique ambiguity and minimalism, turns in one of his finest performances ever; just a hint of his outstanding performance (and probably his best) in "Where the Sidewalk Ends". Andrews' co-stars Alice Faye and a sluttish Linda Darnell are great as well. The magnificent chiaroscuro photography by Joseph LaShelle has certain crispness and lucidity that is similar to Anthony Mann's "T-Men".
Some may find the second half of the film quaintly melodramatic and David Raksin's romantic score is admittedly less memorable than "Laura" but "Fallen Angel" deserves to be seen and viewed within its credentials.
The effect is haunting and breathtaking.
Also, Dana Andrews, with all his unique ambiguity and minimalism, turns in one of his finest performances ever; just a hint of his outstanding performance (and probably his best) in "Where the Sidewalk Ends". Andrews' co-stars Alice Faye and a sluttish Linda Darnell are great as well. The magnificent chiaroscuro photography by Joseph LaShelle has certain crispness and lucidity that is similar to Anthony Mann's "T-Men".
Some may find the second half of the film quaintly melodramatic and David Raksin's romantic score is admittedly less memorable than "Laura" but "Fallen Angel" deserves to be seen and viewed within its credentials.
The effect is haunting and breathtaking.