An
adaptation of the Anthony Gilbert novel THE WOMAN IN RED, written for the
screen by Muriel Roy Bolton, this rousing B-picture was directed by Joseph H.
Lewis, who would go on to direct two of the most deservedly famous film noirs: GUN
CRAZY (1950) and THE BIG COMBO
(1955).
Fire destroys an image of Julia Ross (Nina Foch) Interestingly, the restoration of Ross involves water |
Shot in
18 days on Columbia's backlots, MY NAME
IS JULIA ROSS begins properly enough for a noir film, with our protagonist introduced upon rain-soaked
streets. Londoner Julia Ross (Nina Foch) is looking for work with a certain
sense of desperation. She learns of a secretarial position available with a
Mrs. Hughes (Dame May Whitty), who seeks an applicant of unwavering commitment.
Ross pledges she has no personal life to speak of that may interfere with her
job performance, and agrees to move in with Hughes. Soon after that, the Hughes
family leaves London behind for an isolated seaside estate in Cornwall. Ross
awakens from a lengthy drug-induced slumber to be greeted as Marion Hughes. Her
"husband" Ralph Hughes (George Macready) does not seem to be all there,
as he makes a habit of destroying household fixtures with obsessive knifework
in repeated displays of symbolic impotence. Sort of makes you wonder what
happened to the original Marion Hughes.
The
unlucky Ross falls into an extremely dark place through no fault of her own—all
she wanted was a job! Her disorientation begins with being drugged, then she
must endure being treated as someone she knows very well she is not. MY NAME IS JULIA ROSS anticipates the
better-known noir films SORRY, WRONG NUMBER (1948) and SUDDEN FEAR (1952), both of which
feature women being targeted by their own husbands. There is also a connection
to "walking dead" noir permutations
like DETOUR (1945) and DECOY (1946). In terms of setting, MY NAME IS JULIA ROSS involves a woman
being menaced within the confines of a gated gothic environment, similar to the
same year's THE SPIRAL STAIRCASE
(1945). Ross even encounters a treacherous staircase in a particularly
suspenseful sequence (staircase danger is an overused but stylistically
bankable noir trope).
A Nosferatu-like presence torments Ross (Nina Foch) |
Some traditional
elements of the horror narrative come into play in MY NAME IS JULIA ROSS, especially in regard to visuals. Cinematographer
Burnett Guffey's compositions recurrently emphasize the presence of closed
doors, barred windows, elaborate fences, and imprisoning shadows. Guffey would work
on a large number of high quality noir
productions, including JOHNNY O'CLOCK
(1947), IN A LONELY PLACE (1950),
and THE SNIPER (1952), to name just
a few. He teamed with Lewis again on SO
DARK THE NIGHT (1946) and THE
UNDERCOVER MAN (1949).
A personality oppressed via imagery |
A
commercial success, MY NAME IS JULIA
ROSS likely influenced future noir
films with horrific sequences like NIGHTMARE
ALLEY (1947) and THE WINDOW
(1949), as well as color thrillers that emerged in the '60s, i.e. DIE! DIE! MY DARLING! (1965) and THE COLLECTOR (1965). MY NAME IS JULIA ROSS would be remade
as DEAD OF WINTER in 1987.
The noir psychopath usually comes to a bad end, as he does in MY NAME IS JULIA ROSS |
Part of
the Turner Classic Movies Vault Collection from Sony Pictures Home
Entertainment, the Columbia Pictures Film
Noir Classics III 5-disc DVD set contains a 1.33:1 presentation of MY NAME IS JULIA ROSS, along with some worthwhile
supplemental material.
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