Marooned on a remote peninsula and haunted by frightening specters, a young man must confront the grotesque denizens of the night, or heed the Lighthouse Keeper's cryptic warning to, 'Always keep a light burning!'
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Looks like the film that might have inspired Hugo Hass to make one like it twice a year in the early fifties. Connie (June Lang) is all smitten with lighthouse keeper Sam Wells (Don Castle), but he brushes her off and she ups and marries his fellow-lighthouse keeper Hank Armitage (John Litel) out of spite. All three live together in the close confines of the lighthouse and jealously and recrimination rise nearly as high inside as the pounding surf and howling winds outside. It also begins to look like an Edgar G. Ulmer) film, if it wasn't so semi-rational. Sam is pleased with the situation that appears to him to promise action with no responsibilities. But Connie, in addition to rebuffing Sam's unwanted passes, is actually falling in love with ol' Hank. Trouble is brewing.Written by
Les Adams <email@example.com>
This film had its earliest documented telecast in New York City Thursday 20 January 1949 on Film Theater of the Air on WCBS (Channel 2), followed by Los Angeles Tuesday 8 November 1949 on KTTV (Channel 11). See more »
June Lang and Don Castle are talking about getting married. When she makes a surprise visit to the lighthouse where she thinks he's in charge, she discovers he works for John Litel and is away visiting his wife. To get revenge, she marries Litel and comes to live at the lighthouse, where Castle tells her he has been trying to get a divorce. Then Litel has an accident.
This bleak triangle is from PRC films, so I didn't expect much from it. Certainly the story has been done many times. The good acting, however, is a compensation. June Lang, in her last role on the big screen, is sullen and sultry. Walter Strenge's dark photography is effective. The two-shots look like old-line Lasky Lighting.
Strenge was another of those well-respected cinematographers who never got out of the Bs and spent a decade or two shooting television shows. Despite those unprepossessing credits, he was nominated for a Best B&W Cinematography Scar for a B western, served as president of the ASC from 1958 through 1960, and developed the standard field-of-depth charts.
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