The prologue to "The Secret Loves of Martha Ivers" suggests a Gothic movie, with the spooky figure of Mrs. Ivers dominating the eerie household that Martha wants to flee; then, the film changes to a noir with a fine plot. In fact, Lewis Milestone, the director, has mixed styles in the picture, but the end result makes a satisfying film to watch.
The musical score of Miklos Rozsa contributes to create a good atmosphere to what we are watching, also greatly helped by the black and white cinematography by Victor Milner. Robert Rossen, a man who went to direct his own films, wrote the screenplay.
We are given a story about an young woman who lives under the ironclad rule of a domineering aunt. Martha finds in Sam, a kindred spirit, who loves her. She wants to escape with him in order to get away from this tyrant. Things get complicated with Martha being nabbed from the train that is going to take her away and she is brought back to the hated house. The nasty storm blowing over Iversville cuts the electricity. Martha has a confrontation with her aunt, and things take an ironic twist. Mr. O'Neil, the tutor, makes sure he and his son will be well provided in exchange for their silence.
The action changes after that. It's now eighteen years later. We see Sam as he is driving near Iversville and he suffers an accident because he is not looking. Coming back to Iversville brings back memories. He goes to the house where he lived and meets the sweet and mysterious Toni Marachek, who is leaving town. By this time, all in town are alerted to Sam's return and things begin to unravel.
Walter O'Neil, the town's D.A. has married Martha. He has become an alcoholic. Martha has done wonders with the steelworks she inherited and is obviously a wealthy woman. She immediately figures with Walter that Sam's return has a different meaning; he has come back to implicate them in the death of Mrs. Ivers, and they must deal with him. Both Martha and Walter are suffering the guilt associated with their naming an innocent man, who has been executed because of them. The film has a good resolution, as crime doesn't pay, or so, this is the clear message that comes across. Sam, at the end, is seen driving away from the town with Toni.
Barbara Stanwyck makes a creation of Martha Ivers. This was a role tailor-made for her. She has a great time playing this woman, who doesn't know what she wants, whether to stay with the weakling Walter, or to try to get back to Sam. Van Heflin, as Sam is splendid. He had played opposite to Ms. Stanwyck and in this film, both do some interesting work, under the guidance of Mr. Milestone.
Kirk Douglas was making his film debut and he made a splash with his take on the weak Walter O'Neil. Lizabeth Scott was also a revelation, who is totally convincing with her Toni Marachek. Judith Anderson has only a couple of scenes at the beginning of the movie, but she is effective as the domineering Mrs. Ivers.
Although we had seen the film before, we still watch it whenever it shows on cable. Thanks to Lewis Milestone's direction the movie will live forever.
The musical score of Miklos Rozsa contributes to create a good atmosphere to what we are watching, also greatly helped by the black and white cinematography by Victor Milner. Robert Rossen, a man who went to direct his own films, wrote the screenplay.
We are given a story about an young woman who lives under the ironclad rule of a domineering aunt. Martha finds in Sam, a kindred spirit, who loves her. She wants to escape with him in order to get away from this tyrant. Things get complicated with Martha being nabbed from the train that is going to take her away and she is brought back to the hated house. The nasty storm blowing over Iversville cuts the electricity. Martha has a confrontation with her aunt, and things take an ironic twist. Mr. O'Neil, the tutor, makes sure he and his son will be well provided in exchange for their silence.
The action changes after that. It's now eighteen years later. We see Sam as he is driving near Iversville and he suffers an accident because he is not looking. Coming back to Iversville brings back memories. He goes to the house where he lived and meets the sweet and mysterious Toni Marachek, who is leaving town. By this time, all in town are alerted to Sam's return and things begin to unravel.
Walter O'Neil, the town's D.A. has married Martha. He has become an alcoholic. Martha has done wonders with the steelworks she inherited and is obviously a wealthy woman. She immediately figures with Walter that Sam's return has a different meaning; he has come back to implicate them in the death of Mrs. Ivers, and they must deal with him. Both Martha and Walter are suffering the guilt associated with their naming an innocent man, who has been executed because of them. The film has a good resolution, as crime doesn't pay, or so, this is the clear message that comes across. Sam, at the end, is seen driving away from the town with Toni.
Barbara Stanwyck makes a creation of Martha Ivers. This was a role tailor-made for her. She has a great time playing this woman, who doesn't know what she wants, whether to stay with the weakling Walter, or to try to get back to Sam. Van Heflin, as Sam is splendid. He had played opposite to Ms. Stanwyck and in this film, both do some interesting work, under the guidance of Mr. Milestone.
Kirk Douglas was making his film debut and he made a splash with his take on the weak Walter O'Neil. Lizabeth Scott was also a revelation, who is totally convincing with her Toni Marachek. Judith Anderson has only a couple of scenes at the beginning of the movie, but she is effective as the domineering Mrs. Ivers.
Although we had seen the film before, we still watch it whenever it shows on cable. Thanks to Lewis Milestone's direction the movie will live forever.