Review #1,477: 'Phantom Lady' (1944)

German-born filmmaker Robert Siodmak fleed Adolf Hitler twice throughout his career, journeying to and flourishing in France after Joseph Goebbels called him out in the press, and later in Hollywood as the Nazis spread through Europe. It was in the U.S. that he made the pictures he is now most fondly remembered for: tough, dark and distinctly unpretentious film noirs like The Killers, The Dark Mirror, Cry of the City and Criss Cross, many of which are considered some of the best the genre has to offer. Before he was allowed the chance to place his stamp on his works, Siodmak churned out screwball comedies like Fly-by-Night and even a Universal horror film, Son of Dracula. His first venture into noir came in 1944 with Phantom Lady, a film that leaned more towards Hitchcockian thriller territory than the hard-boiled crime dramas that would come later.

Every great noir needs a chump, and we are introduced to Phantom Lady's unfortunate patsy Scott Henderson (Alan Curtis) as he sits slumped at a bar. He has tickets for a show but his date has stood him up, so he innocently asks the only female in the bar, played by Fay Helm, if she will accompany him. The woman, whose name we don't learn until much later in the film, is clearly emotionally unstable, initially turning down Scott's offer before agreeing under strict terms: they won't reveal their names or discuss anything personal. They go to see the show, where the mystery woman's rather outrageous hat is also being worn by the star on the stage, Estela Monteiro (Aurora Miranda), enraging her and amusing the diminutive band drummer Cliff (Elisha Cook Jr.). The night ends with a hurried goodbye, and Scott returns home to find three policemen waiting for him. As they lead him to the bedroom, his wife lays dead, strangled with one of Scott's own neckties.

Of course, Scott has a perfect alibi, but he never learned her name, and everybody they encountered that night - a bartender, a taxi driver, and even Monteiro - all deny seeing the woman. Facing the death penalty, Scott's only hope to unravel the mystery is his beautiful and loyal secretary Carol (Ella Raines) and sympathetic Police Inspector Burgess (Thomas Gomez). Phantom Lady's biggest failing in trying to replicate the genius of Hitchcock is the near complete absence of suspense. The wrongfully-accused thriller was done far better by the man himself over a decade later with The Wrong Man, and when Scott's old pal Jack Marlow (Franchot Tone) shows up halfway through, all sense of whodunit goes flying out the window. Still, Phantom Lady gets by on sheer class. Siodmak elevates the plot-hole ridden story with his trademark weaving of light and dark, and influences brought over from the days of German Expressionism makes this a more visually stimulating experience. It's also a lot of fun: the outrageous plot shares more in common with an Argento giallo than a Raymond Chandler paperback.


Directed by: Robert Siodmak
Starring: Franchot Tone, Ella Raines, Alan Curtis, Aurora Miranda, Thomas Gomez, Fay Helm, Elisha Cook Jr.
Country: USA

Rating: ****

Tom Gillespie