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A tough lady gangster learns that she will be totally blind within a week. She seeks help from the one eye surgeon who may be able to save her sight. In the process, he also causes her to have a change of heart.Written by
Daniel Bubbeo <firstname.lastname@example.org>
Joan Crawford told the audience at the Town Hall Legendary Ladies show in 1972 that she considered this her worst film. See more »
One of the gangsters throws a booze bottle through the trailer window from the inside as the trailer is being towed down the road and of course shatters the picture window. In the next two scenes, as the trailer is being towed down the highway, the picture window is not broken. When the police officer stops the car and trailer the window is once again shattered. See more »
I can answer all your questions, now.
Dr. Ben Halleck:
You already have. There was only one answer to every question. Yes, I know why you came back, why you didn't stop to count the cost.
But I did count it, I want to pay it.
Dr. Ben Halleck:
Then remember this, Beth. Remember the day when we took a detour and it led us home? It always will.
I'll remember. And the prison woman who held your hand with all of her strength because she needed your strength.
[Camera pans down to see them holding hands]
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The woman in the title is not particularly dangerous, but she seems to be crashingly masochistic. Joan Crawford, at this point in her acting career, has been playing women with an elegant sense style who fall for the wrong men, and this time it's super-petulant David Brian, who has probably been pouting since his older sister snapped his slingshot. Early in the film, Our Joan discovers her sight is in jeopardy, and purely by accident begins to bond with her doctor, mild-mannered but sensitive Dennis Morgan, set free from Warner's musicals for a year or so; Brian soon discovers the clandestine romance, and is ready to kill someone! He loves to wave his gun around!
Although not as tightly written as this semi-noir melodrama could be, there are plenty of exciting set pieces that delight the eye and excite the intellect--all the stuff with the trailer pursued by the motorcycle copy is, while totally illogical, fascinating and beautifully filmed, and therein for me lies a major interest in this film--the superb, careful use of the camera with which Warner films could be so effective--brilliant set interiors lit perfectly, whether in the home of a sick child's poor parents, or in an operating room's audience gallery, providing a dazzling set piece finale where everybody get's involved and there's enough shattered glass to build an igloo! Cinematographer Ted McCord is the man behind the camera; he's already lensed Crawford in numerous other films, and is responsible for a rich heritage of classics from The Treasure of The Sierra Madre to The Sound of Music--a dedicated artists, McCord's work could make a meatball look like filet mignon.
A sincere dedication from dozens of Warner contract players contribute to a wide variety of locales--from hospital waiting rooms to trailer parks, prison laundry rooms to doctor's offices, and the film, I think, accurately reflects the ability of a major studio to churn out a decent film every few weeks worthy of watching. This Woman Is Dangerous is no Mildred Pierce or Humoresque, but Joan is still in top form, manages to command attention, and there are few that can suffer as bravely. Well...Kay Francis, maybe..but that's another story.....
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