For people raised primarily on Hollywood films, particularly those from the 1950's on, this dazzling immersion in sin of all sorts may come as a surprise--in how many films, for instance, is a baby left unceremoniously in a garbage can on the street? And only Hitchcock, in Shadow of A Doubt, can created an ominous creepy feeling when a train chugging into the Santa Rose depot spreads an ominous black cloud over a group of relatives waiting for a beloved uncle? It happens here, with dazzling results during a shootout next to a cabaret on the fringes of town; all through the film the camera creates seedy worlds almost surreal, and places in them the lead, Ninon Sevilla, with even more energy to spare than Ann Miller, an actress whose life is a constant battle of survival for herself and an adopted son.
No use to relate the plot, the joys of revelation, and the heavy melodrama enriched with often shocking complexity. This film is great fun for the viewer interested in a special change in cinematic exposures.
No use to relate the plot, the joys of revelation, and the heavy melodrama enriched with often shocking complexity. This film is great fun for the viewer interested in a special change in cinematic exposures.