charmadu
Caught this recently on the Movie Channel and despite the 1000 interruptions, really enjoyed it. Whoever said this is not Film Noir needs to think again. Film noir refers to a style marked by a mood of pessimism, fatalism, and menace. All three permeate Daisy Kenyon. The term was originally applied (by a group of French critics) to American thriller or detective films made in the period 1944–54 and to the work of directors such as Orson Welles, Fritz Lang, and Billy Wilder. David Thomson spoke on this - he cited Mildred Pierce as his favorite Film Noir. But you say - "where's the crime? where's the mystery?" The crimes are Crimes of the Heart, what the Catholic Legion of Decency used to label "objectionable in part for all", which was code for extramarital affairs, men deserting their children, women marrying for security vs love and getting hooked on married men who string them along for years - in short LIFE as Otto Preminger dared to show it in 1947. The mystery is how Daisy has the most courage of anyone in the film - despite her societal status as "damaged goods". Despite the complaints I've read about the casting - I thought it was excellent. Dana Andrews does a beautiful transition from a total cad and later the much sadder but wiser man. Henry Fonda is quite a mystery himself - and what a delight. And Joan Crawford does a spectacular job as a fallen woman of integrity, trying to swim with the barracudas.
mauricebarringer
I wanted to respond to a few comments about this wonderful film (which was a strong and highly effective character study). Dana Andrews received billing over Henry Fonda because Andrews was at the peak of his career with A WALK IN THE SUN, LAURA, THE FALLEN ANGEL AND THE BEST FILM OF 1946, THE BEST YEARS OF OUR LIFE. He was a superstar at that time and held on to stardom until the early 1960s but in films of lesser quality as the years went by. He was an excellent and underrated actor.Henry Fonda, whose first starring role was in 1935, was in the middle of his long career, not in the early stages as one writer said. Fonda, after serving 3 full years in WWII, had a difficult time maintaining his stardom, was never a strong box office star but was an outstanding actor. Fonda did not make any films after 1948 until MR. ROBERTS in 1955, his comeback. He constantly did fine and critically acclaimed stage work. Peter, his son, said he was gray-listed because of his liberal political views also. Fonda worked in major films with lead roles in films and on television until his death in 1982.Fonda was under contract and was forced to perform in this film by his studio. Andrews liked working with Otto Preminger and did so 4 times. Andrews was easy to work with and the autocratic Preminger liked Andrews because of his professionalism, easy going personality and outstanding acting ability.I was surprised that something more was not said or done about Dana Andrews' child torturing wife. Andrew shed a tear but did not report this beast to the authorities. (She yanked on her child's ear until the ear bled and the child had a significant ear ache.) That, even in the dark ages, should have been enough to have the child removed from her care, wouldn't it?
RanchoTuVu
A well off and capable New York corporate lawyer (Dana Andrews) carries on an ongoing affair with a successful fashion designer (Joan Crawford) who waits for him to divorce his wife (Ruth Warrick). This he finds difficult to do because of the two daughters and his position with his father-in-law whose law firm he works for. There are some complex issues in this situation with the wife, kids, work, and Joan Crawford in a fairly tender part as Daisy. The dialogue between the characters shows a sophistication as they deal with the situation that is fairly impressive. When Henry Fonda shows up as a widowed WW2 vet, there are several scenes between him and Andrews or with him, Andrews, and Crawford that move right along with interesting observations, as both men love the same woman, and the woman, who loves them both, seems to want to keep her own identity as well. The divorce court scenes come in towards the end to make the film a court drama as well, but do not intrude as the issues with Crawford's character become exposed by the lawyer representing the Andrew's wife. Though the film is not a crime drama, a lot of the B&W photography by Leon Shamroy looks like ace film noir. Some may say that director Otto Preminger would not voluntarily take on a project like this, that it must have been contractually foisted upon him. If so, he did a fairly admirable job, keeping the characters from going over the top while keeping up the pace and making a pretty tough ending with a surprisingly tender Dana Andrews, whose definitely at or near his best.
Prof-Hieronymos-Grost
Artist Daisy Kenyon (Joan Crawford) has been having an on/off affair with married man, lawyer, Dan O'Mara (Dana Andrews) for many years, she was happy with the state of affairs for the most part but their petty squabbles have taken their toll on their relationship and Daisy decides to bring it to an end. In steps mild mannered soldier and widower, Sgt Peter Lapham (Henry Fonda), home from the war to take his place in Daisy's affections. Lapham a yacht designer by trade knowing he is aiming high offers her marriage with the promise of a relaxed life on the cape. Daisy's affections are muddled, what will she do? Well this is the third of Fox Noir's recent releases and it is again badly labeled as Noir, its pure soap opera, that admittedly has some interesting use of light and shadow, but this alone does not a Film Noir make? I can't really believe how all so very nice and cosy all the main characters are with each other, when there should be arguments and fistfights all we get is some shared tears and a great understanding for the others predicaments. Not terrible by any stretch, but not essential either.
AD
