PHANTOM LADY is an overpraised thriller penned by Cornel Woolrich (under the name Robert Irish here), full of film noir touches that make it a classic of German expressionism, as directed by Robert Siodmak. But there are so many loopholes and coincidences in the script that it can't bear close inspection without failing to reveal the gimmicky plot.
None of it is subtle. In fact, it's really a camp style film noir with ELISHA COOK, JR. contributing his most over-the-top portrayal of a psychotic drummer and FRANCHOT TONE having a grand melodramatic time depicting a man whose criminal conscience gives him plenty of headaches.
ELLA RAINES is pretty as a picture in her role as the persistent secretary of engineer ALAN CURTIS, who is intent on solving the crime he is accused of--namely, killing his wife. How she goes about her mission to prove his innocence requires a lot of disbelief to swallow before any of it is even remotely credible. Acting by the three leads is never above competent because of the thinly written characters they play.
What really hurts is that FAY HELM as the woman with the hat who eludes the track of those trying to find her (the Phantom Lady), plays her role in a completely synthetic and alienating way, never convincing. And AURORA MIRANDA plays the musical star diva with comic but overdone zest.
However, what's so admirable about the film is its use of noir touches throughout--the low-lit scenes, the shadowy menace, the rainswept streets, the interesting camera angles--all of which can be attributed to director Siodmak's hand behind the camera.
But as a Cornel Woolrich story, it falls short in many ways.
As a film noir favorite, it scores largely because of the excellent B&W photography which helps disguise the low-budget aspect of most of the sets.
None of it is subtle. In fact, it's really a camp style film noir with ELISHA COOK, JR. contributing his most over-the-top portrayal of a psychotic drummer and FRANCHOT TONE having a grand melodramatic time depicting a man whose criminal conscience gives him plenty of headaches.
ELLA RAINES is pretty as a picture in her role as the persistent secretary of engineer ALAN CURTIS, who is intent on solving the crime he is accused of--namely, killing his wife. How she goes about her mission to prove his innocence requires a lot of disbelief to swallow before any of it is even remotely credible. Acting by the three leads is never above competent because of the thinly written characters they play.
What really hurts is that FAY HELM as the woman with the hat who eludes the track of those trying to find her (the Phantom Lady), plays her role in a completely synthetic and alienating way, never convincing. And AURORA MIRANDA plays the musical star diva with comic but overdone zest.
However, what's so admirable about the film is its use of noir touches throughout--the low-lit scenes, the shadowy menace, the rainswept streets, the interesting camera angles--all of which can be attributed to director Siodmak's hand behind the camera.
But as a Cornel Woolrich story, it falls short in many ways.
As a film noir favorite, it scores largely because of the excellent B&W photography which helps disguise the low-budget aspect of most of the sets.