Otto Preminger’s domestic noir Angel Face (1952) makes absurdly good use (twice!) of one of the great cinematic clichés—death by “going over the cliff.” The cliff, in this case, is a 150 ft drop behind a posh mansion owned by a once-great writer, his young and fabulously wealthy second wife, and her stepdaughter Jean Simmons. Robert Mitchum is the chauffeur that Simmons drags into her murderous, Oedipal melodrama. He is slightly less interested in “all that,” however. Mitchum’s disaffected, disconnected persona fits perfectly in this overly stuffed psychodrama. Just as Simmons takes her neuroses and anxieties too seriously, Mitchum seems interested only in the sex, and what little pay his driving skills can earn him. Together, they strike a balance that makes the film watchable, but hardly credible. Too much time is spent on resolving the murder plot, which is ultimately of little importance, and not enough on the lesser, not-so-symbolic details. Writers Frank Nugent and Oscar Millard (working from a story by Chester Erskine) assemble the narrative rather haphazardly, inserting scenes for a singular effect only, while never fully grasping the overall impact of the completed scenario, which is more psychologically affected than effective. Otto Preminger’s direction is so consistently slight it is as though he were trying to remove himself as director from the film. At his most effective, Preminger is able to communicate not only plot, but also psychological motivations, purely through visual and sound montage—that is through cinematic means, rather than literary. The most haunting scene of the film is a short segment that begins with a character sitting down to play the piano, and as the notes ring out Preminger cuts to another character stepping into a car. The piano carries over on the soundtrack, and its presence transcends to omnipresence; without any other hints, we become aware of the murderous trap that has been set. But moments such as these are rare in Angel Face, and more often than not, instead of being reticent Preminger seems only remotely interested in the material at hand.
Cullen Gallagher is a Brooklyn-based writer, musician, and curator whose work has appeared in The Los Angeles Review of Books, The Life Sentence, Moving Image Source, Bright Lights Film Journal, Beat to a Pulp, NoirCon, Crimefactory, Film Comment, The L Magazine, The Brooklyn Rail, Fandor, Not Coming to a Theater Near You, Hammer to Nail, Spinetingler, Between Lavas, Reverse Shot, and Guitar Review. He records instrumental music as Modern Silent Cinema and plays in the hardcore band Night Squad.