CrimeAnnée1945Durée1h 38mIMDb7.0

Crime passionnel

CrimeFilm-NoirMystère

Un escroc habile, qui cherche à gagner de l'argent, arrive dans une petite ville, mais il obtient bientôt plus que ce qu'il attendait.

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Bande-annonce

Casting

Otto Preminger

Director

Alice Faye

June Mills

Dana Andrews

Eric Stanton

Linda Darnell

Stella

Charles Bickford

Mark Judd

Anne Revere

Clara Mills

Bruce Cabot

Dave Atkins

John Carradine

Professor Madley

Percy Kilbride

Pop

Dorothy Adams

Stella's Neighbor

Robert Adler

Coroner at Murder Scene

Herbert Ashley

Reporter

Matthew 'Stymie' Beard

Shoeshine Boy

Betty Boyd

Bank Clerk

Chet Brandenburg

Man in Drug Store

Paul E. Burns

News Vendor

CC

Chick Collins

2nd Bus Driver

Jimmy Conlin

Walton Hotel Clerk

Franklyn Farnum

Man Leaving Drugstore

HK

Harry Kleiner

Writer

MH

Marty Holland

Writer

Commentaires

10 commentaires

Khawla ElhamiNov 15, 2024

Otto Preminger liked using Dana Andrews in his film noirish melodramas and, while this one is not quite up to the classic "Laura", it's a well played story of a drifter (Andrews) who comes into a small town and cons a decent woman (Alice Faye) into marrying him although her money is what he's after. Seems he's intent on ditching her in order to marry the town siren, Linda Darnell. When Darnell is murdered, he becomes a prime suspect until the true killer is unmasked. Alice Faye gets a straight dramatic role for a change and is effective enough in the part. When the film was edited, some of her best scenes were cut in favor of footage given to Linda Darnell. Faye quit the Fox lot, vowing never to return. Years later she did for "State Fair". Linda Darnell excels in her role as a tart and the supporting cast includes veterans like Charles Bickford, Anne Revere, Bruce Cabot, John Carradine and Percy Kilbride. The ending is somewhat of a surprise unless you've been playing detective and catching the hints. Dana Andrews adds another tight-lipped portrait to his gallery of rogues. For more about this fine actor, watch for my career article on DANA ANDREWS in an upcoming issue of FILMS OF THE GOLDEN AGE.

Mme Kone Binki 🫀Nov 15, 2024

No need to repeat the plot. The screen really pulsates when Darnell appears. That opening shot of her in a big hat and cheap dress, hiking up her skirt tells us all we need to know. Too bad the rest is a disappointment. According to IMDb, a number of production folks were unhappy with the final cut by head honcho Zanuck. Maybe that's why the story lacks focus, meandering from one character to another to no particular purpose. Nor do I see anything like Preminger's usual languid, moody style in the results. Instead, the scenes merely accumulate without building. For example, Carradine's phony spiritualist looks promising, but is quickly dropped. And why is King Kong's Cabot stuck in a brief part that any number of no-names could have handled, unless a number of his scenes were cut. It doesn't help that Andrews plays one of the most dislikable central characters (Eric Stanton) in noir. In my book, there's nothing redeeming about his fast-talking operator at any level, which makes the sugary June's (Faye) abject devotion all the more unbelievable. Noir protagonists are generally a moral mix that makes them more interesting than the usual one-dimensional hero of the period. Just as importantly, they manage a redeeming quality at some level. Stanton, however, is a heel through and through. As a result, the movie fails to provide a crucial center of gravity to identify with. But, whatever the reason and despite some good scenes usually involving Darnell, the movie remains a meandering disappointment.

Letz83Nov 15, 2024

This neglected film noir gem by the great Otto Preminger is better and more poetic than Preminger's previous classic "Laura". For one thing, Preminger's fluid camera work and long takes here reach perfection, pointing them toward his mature long takes and objectivity in 1950s with such dazzling masterworks as "Where the Sidewalk Ends", "Angel Face", "Anatomy of a Murder". Each scene is shot and elaborated with precision, with minimum amount of edits to elucidate the emotions of the characters. Also, Dana Andrews, with all his unique ambiguity and minimalism, turns in one of his finest performances ever; just a hint of his outstanding performance (and probably his best) in "Where the Sidewalk Ends". Andrews' co-stars Alice Faye and a sluttish Linda Darnell are great as well. The magnificent chiaroscuro photography by Joseph LaShelle has certain crispness and lucidity that is similar to Anthony Mann's "T-Men". Some may find the second half of the film quaintly melodramatic and David Raksin's romantic score is admittedly less memorable than "Laura" but "Fallen Angel" deserves to be seen and viewed within its credentials. The effect is haunting and breathtaking.

Zineb Douas foula 💓💁🏻‍♀️Nov 15, 2024

Many film critics have glossed over this wonderful movie. It is an engrossing story about a man (Dana Andrews) who marries a woman (Alice Faye) for her money, but seeks to kill her in order to inherit her fortune and hook up with vamp Linda Darnell. The movie is star studded. It not only features Andrews, Darnell and Faye, but spectacular performances are made by Charles Bickford, Anne Revere and Bruce Cabot. The movie is a typical film noir with a catchy plot. Otto Preminger makes great use of lighting to portray the typical murky image found so often in a hard boiled, sex-money drama as film noirs were meant to portray. It is a shame that this movie is not available on video.

Hardik ShąrmàNov 15, 2024

Otto Priminger was basking in the sun as a result of his classic film noir "Laura" when he followed up with this highly under-appreciated film. The key element is basically the same as in "Laura" and that key element is obsession with a beautiful but dangerous woman. The femme fatale of film noir is present at the creation of the genre, here embodied by Linda Darnell. Many men become obsessed with beautiful women who are not deserving of such adoration. In its perverted form obsession leads to stalking. In its most common form it leads to heartbreak and mental torture. It can also lead to murder. Why do men become obsessed with dangerous beautiful women? Ask your shrink for an analysis. Alfred Hitchcock made the best film on obsession with a beautiful woman, "Vertigo." Before "Vertigo," "Fallen Angel" was the best and is still one of the best. The acting is marvelous, especially Dana Andrews, Linda Darnell, and all those wonderful character actors that Otto Priminger hand picked for their roles. The weakest performance is by Alice Faye, but then she is out of her element and badly miscast, not at all a good choice for a film noir. Plus my understanding is that Priminger cut many of her key scenes to make more room for the machinations of Linda Darnell. The shadowy world of midnight rendezvous, dark tones of shades of rain, a diner called Pop's Eats, all make for a classic film noir for fans and non-fans as well.

insta : l9ahwi👻Nov 15, 2024

There is so much to say about the way Otto Preminger directs a movie. His previous success, "Laura" (1944), was a blockbuster, but lacked the murky influence of film noir that was so popular during this time. Sure there was some film noir technique employed in "Laura", but not enough. However, "Laura" still holds it's own even by today's standards and the media, along with the marketing people, have done us all a favor (this time!!!) in keeping this classic alive and popular. Needless to say, "Fallen Angel" redeems Preminger's ability to present a film in the classic noir of it's time and because of this is competitive with Billy Wilder's "Lost Weekend" (1945) and "Double Indemnity" (1944), both huge successes with audiences. But what about "Fallen Angel"? Despite the cinematography and the super cast, "Fallen Angel" went to the chopping block via the critics. The critics rated this film as mediocre and audiences stayed away. Alice Faye, in her only dramatic role, left the movies in disgust partly because of what the critics did to this film. Why? From beginning to end, the viewer is treated to some of the best cinematography that this art form had to offer. The way sluttish Linda Darnell is depicted before the camera is a treat for the eye and enhances her sexuality. The way Percy Kilbride is smitten with Darnell throughout the movie, up to the climax is an essential link to the continuity of the movie as well as with the novel by Marty Holland. The way Charles Bickford sits behind the lunch counter, slowly sipping his coffee sending a message to the viewer that something deep inside him is simmering, ready to explode. We all know that Bickford, along with Kilbride, Dana Andrews and Bruce Cabot all are victims to the whims of the dark Darnell. And the way the blonde, good and virtuous Faye is contrasted with the dark, bad and selfish Darnell is more proof that this film should be marketed for the masses. The plot is strong, the camera work of Joseph LaShelle and, especially the film direction by Preminger rates this movie as one of the best of it's time. Yes, this film rates up there with "Laura", "Double Indemnity" and "The Lost Weekend"; all three super classics from this era and available on VHS and DVD. Why not "Fallen Angel"?

matbakh yummyMay 29, 2023

source: Fallen Angel

THE DANCE HOUSENov 18, 2022

SebrinNov 16, 2022

Fallen Angel

Betty SalamonNov 16, 2022

Sadly undernourished film noir has shady Dana Andrews and Linda Darnell plotting to bilk Alice Faye out of her money. Andrews is such a stalwart fellow, casting him as a semi-villain doesn't really work--he's too decent. Darnell, on the other hand, is totally into her character (a hard-boiled femme fatale) and enlivens the picture with her lipsticked swagger. Poor Alice Faye is so stiff, it's unclear when she falls asleep on Dana's shoulder at the beach whether her character is faking it, going into a seizure, if she's fainted, or perhaps she was bumped off without us knowing! Production and pacing are adept, if lacking excitement. Not up to similar noirs from this era, and not up to director Otto Preminger's standards, either. ** from ****

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