User reviews

In The Blue Gardenia, Anne Baxter's feeling low and depressed because her GI fiancé in Korea has given her the brushoff. Against her better judgment she goes out with Raymond Burr, full time artist and full time wolf. A few Polynesian Pearl Divers in the local bar which might have been spiked and Anne's not doing so good. But good enough to hit Burr with a fireplace poker and somehow make her way home like Cinderella with both shoes missing.

George Reeves taking a break from Superman plays the Los Angeles homicide detective gets a little unwanted help from Richard Conte, a Walter Winchell like newspaper columnist who's no doubt thinking of the black dahlia murders in LA a few years because a Blue Gardenia's been left at the crime scene and Nat King Cole both sang it live and on record in the film.

In the meantime Baxter's mood swings are being noticed by her roommates Ann Sothern and Jeff Donnell. And Conte's got his own investigation going into the Blue Gardenia murder. It all makes for one interesting and murky film in the tradition of Fritz Lang.

Anne in a sense does a reprise of her Oscar winning performance from The Razor's Edge as a woman being trapped in tragedy. She blamed herself for her family's death in The Razor's Edge and she may or may not have killed Burr. The only difference is that an arrest might lead to an expiation of sin of a sort.

Fritz Lang made a specialty in harassed and harried protagonists getting themselves into some real jackpots whether it was Henry Fonda in You'll Only Live Once, Edward G. Robinson in Scarlett Street and The Woman In the Window, and we can even count Peter Lorre in M. These are people who in fact were guilty. For the first time however Lang's harried protagonist is a woman and Anne gives a great performance.

One scene I really loved is one with Almira Sessions as a brain dead housekeeper who finds Burr's body and then proceeds to clean up the crime scene. After all as she explains to Reeves this is her job and what she's paid to do. The fact she's destroyed all forensic evidence doesn't seem to impress her in the slightest.

On the other hand had she done like a normal person would have and not touched anything, the forensics would have cleared the whole thing up and we wouldn't have a movie.

Los Angeles telephone operator Anne Baxter (as Norah Larkin) dresses up and celebrates her birthday with a photograph and letter from her handsome sweetheart in Korea. She expects they'll marry, when he returns to the USA. After receiving some startling news, Ms. Baxter accepts a date with lecherous sketch artist Raymond Burr (as Harry Prebble). He specializes in getting women drunk and taking sexual liberties. Events lead up to one character striking another with a fireplace poker. The killer called "The Blue Gardenia" is enthusiastically pursued by "Chronicle" newspaper columnist Richard Conte (as Casey Mayo). Baxter's roommates are chain-smoking Ann Sothern (as Crystal Carpenter) and paperback reader Jeff Donnell (as Sally Ellis). It helps that they are directed by Fritz Lang and photographed by Nicholas Musuraca. She doesn't really fit the role, but watching Baxter drown her sorrows and fend off Mr. Burr engages the viewer. A too tidy ending makes much of the preceding drama less interesting. Singing the title song beautifully, Nat "King" Cole makes a welcome appearance.

****** The Blue Gardenia (3/23/53) Fritz Lang ~ Anne Baxter, Richard Conte, Raymond Burr, Ann Sothern

One thing this film has going for itself is atmosphere. Making it all seem relevant is the featured song, more than just a theme, an integral part of the movie, sung by the enchanting man with the melodious voice, Nat "King" Cole, who makes a much too brief appearance as the piano man in the club called The Blue Gardenia.

Besides the hypnotic melody, the interplay among the three room mates, Norah Larkin (Anne Baxter), Crystal Carpenter (Ann Sothern), and Sally Ellis (Jeff Donnell), represents the apex of this enjoyable Fritz Lang outing, not as dour as many of his films, wrapped in Sturm und Drang, tended to be. If "The Blue Gardenia" is to be classified at all, it would possibly be labeled lighter Noir.

Of the interplay between the room mates, Ann Sothern as Crystal with her biting wit and mock delivery, is the highlight. On the other hand, both Crystal and Jeff Donnell as Sally are sounding boards (sort of a Greek chorus) for troubled and tormented Anne Baxter as Norah.

In one of his final roles as a heavy, Raymond Burr as Harry Prebble shows the viewer what a versatile actor he could be. As womanizer, woman-hater Harry Prebble, he convincingly conveys to the audience the loathsome qualities of such a creature. Sex is power and domination, an ego enhancer, not pleasurable or loving in any way except to provide sweet loving lies to permit the conquest. Norah Larkin gives in to this sexual predator in a moment of weakness following the receipt of a Dear John letter from her sweetheart overseas. Prebble, true to form, proceeds to get Norah drunk at The Blue Gardenia as a prelude to seduction. In the process of attempting to woo her with words in his apartment, Prebble becomes more forceful when Norah revives long enough to realize Prebble's true intentions. When she awakes in the morning she finds Prebble dead. Norah has only a hazy recollection of a poker being swung and a mirror shattering. All else is blank.

Assigned to the investigation is Police Capt.Sam Haynes (George Reeves of TV "Superman" fame, showing all the earmarks of a great actor before being typecast on television), who seeks to wrap the case up quickly by apprehending the mystery lady who was seen with Prebble at The Blue Gardenia just before his death. A newspaper reporter, Casey Mayo (Richard Conte), sees a chance for a big story that might jump start his career as a journalist. The media begins to tout the mystery lady as the tantalizing "Blue Gardenia."

"The Blue Gardenia" has all the marks of a great murder mystery in the tradition of "Laura," written by the same person, Vera Caspary. But for some reason, lack of money, lack of time, Fritz Lang wraps the entire project up much too soon. The ending is so abrupt that it appears thrown together as if in the middle of a scene the director yells out, "Wrap it up," and leaves the set. Yet, that's the only major flaw in the film. Otherwise, watch and enjoy.

Norah Larkin (Anne Baxter) is a telephone operator who plans to spend her birthday evening alone with her boyfriend - or rather, with his photograph and a letter she just received from him. The real guy is 6000 miles away in Korea. While her two roommates - Crystal (Ann Sothern), a wisecracking divorcée and Sally (Jeff Donnell), a sweet girl with a taste for bloodthirsty mystery novels - are gone, Norah, wearing a black taffeta dress and sipping champagne, reads the letter and blanches. Her sweetheart has dumped her. She ends up spending the rest of her evening with Harry Prebble (Raymond Burr), a wolf who draws girls for a living and ruins them as a hobby. He takes her to the Blue Gardenia and they listen to Nat King Cole as he gets her very drunk on Polynesian pearl divers. The next morning she wakes up with a terrible hangover, but that's the best part. At work she learns of a murderess soon to be called the Blue Gardenia Girl. The label is invented by a newspaper columnist named Casey Mayo (Richard Conte), who hopes to find the femme fatale before the police. What worries Norah is that he and the police may both be looking for her.

Fritz Lang directed this solid mystery thriller that has our complete attention from beginning to end. A good script and good performances are accentuated by Fritz Lang's camera and his usual sharp eye for detail and way of creating mounting dread.

The Blue Gardenia is the first of Fritz Lang's so-called "newspaper trilogy" (While The City Sleeps, and Beyond A Reasonable Doubt are the other two).

This one is my favorite of the three. It's ironic because Lang himself didn't care for the picture saying, "The story itself wasn't original and the acting wasn't engaging enough to elevate it past being a mild thriller."

I disagree with the master. Lang was coming off some personally turbulent years and was fed up with Hollywood. Perhaps he was not happy with the performance of Richard Conti, the newspaper reporter. Lang wanted Dana Andrews, who would go on to work on the next two pictures of the newspaper trilogy.

But, I think Anne Baxter is great as a jilted woman who impetuously goes out on a date with a wolf, played to perfection by Raymond Burr, and finds herself literally fighting off his sexual attack while in an inebriated state. She blacks out, awakens in her bed unaware of how she got there. Later, she learns Burr's character has been murdered and now finds herself on a journey to discover if she's a killer or not.

Lang's frustration with Hollywood's limitations were starting to show up with his lackluster camera movement (as compared to previous pictures). But, a movie made by a disillusioned Fritz Lang is still a must-watch.

Slightly better than average yet engaging mystery/film noir about a telephone operator opening a Dear Jane letter then deciding to go out with a wolf(Raymond Burr of all people) only to return home not knowing what happened and hearing about the wolf's ugly homicide. Anne Baxter plays Nora the lead role as the Blue Gardenia - a name given to the murderess by a famous reporter from the local newspaper. In fact, the script, while maybe not overly imaginative in the conclusion of the film, has some snappy dialog and interesting points. The Blue Gardenia actually means at least four things in the movie: the murderess's newspaper's title, the name of the night club where Burr and Baxter go that fatal evening, a hit" song by Nat King Cole(who sings it in person at the club), and lastly as the flower of the night club sold by a blind woman. The film was directed by Fritz Lang and though effective in many ways - not up to what one might expect from that legendary director. Lang has some marvelous scenes. Two particularly jump out when Nora was at Burr's apartment and then when Baxter starts to feel pressure from all over - over her possible guilt. Lang manages to bring some real angst to these scenes, but more often than not - much of the film seems pedestrian by his standards. Nonetheless, The Blue Gardenia is entertaining. Baxter, Burr, Richard Conte as the newspaperman, George Reeves as a cop, and Ann Sothern all do good jobs acting and bringing their characters some depth. The ending is decidedly weak as some solution to the film's problems comes way too readily and unconvincingly ala deus ex machina.

A women whose boy friend has just jilted her (Anne Baxter) gets invited to a restaurant by a known philanderer (Raymond Burr), gets drunk and accompanies him to his apartment. When he tries to force himself on her she struggles against him but passes out and has no memory of what happened and how she got home. The next day he is found dead and she assumes she killed him. This is a well-acted and well-directed picture with great music and excellent photography. The plot is suspenseful almost to the last minute; in so far 'The Blue Gardenia' leaves nothing to be desired. If you want to spend an entertaining almost 1 1/2 hours, it is the film for you. For all that, my impression was that director Fritz Lang could easily have made more of the material. Towards the end there is a sort of romance - this is an element that could have been introduced earlier and of which more could have been made. Also, the way the actual murderer (of course not Baxter, you didn't seriously think so, did you?) is found is far too straightforward. All it takes is one clue discovered by a journalist (Richard Conte) and one visit to a record shop, and that's it. In so far, the film left me a little dissatisfied. However, all in all it is still very good.

Really excellent film, elegant, well constructed and atmospheric. Beautifully written script, directing, photography, art direction, soundtrack editing, performances, etc. A real masterpiece. I am surprised that so many people who review it here seem not to grasp it. They complain about lack of suspense because it doesn't use hackneyed noir film devices, but the film is not about that. It's about Anne Baxter, the world through her point of view. Her life is a beautiful dream of hopes of love and happiness for the future, which turns into a horrible nightmare that spirals downward with sickening realism and pathos. Snappy characters throughout, but they are not "wasted", miscast or otherwise ill-used. They are perfectly balanced in a skilled script that is not about actors chewing the scenery, but is a real film, an art film, by the master Fritz Lang, whose every decision in creating this film up to the smallest detail seems to me to be highly intentional. Highly recommended.

Absolutely love the genre 'The Blue Gardenia' fits under, one of my favourites and frequently re-visited. Fritz Lang was one of the greatest and most influential film-makers in his day, with his best films such as 'M' and 'Metropolis' being genre milestones. Hearing Nat King Cole's beautiful voice is always worthwhile. Plus the cast is full of always watchable and even good actors. This is the sort of story that sounds good on paper, but one that risks being silly and contrived when not done well.

'The Blue Gardenia' is above average and is worth watching, but it isn't in any way among the best work of anybody involved. A lot is done extremely well, but also there are some major issues that stop it from hitting bullseye with its potential. As far as Lang goes, 'The Blue Gardenia' is something of a minor work and doesn't always feel like him (despite him on paper sounding like the right director), but it is mildly recommended for everybody wanting to see all his films.

Beginning with the good things about 'The Blue Gardenia', it looks great. The photography is one of the film's biggest selling points, with a real eerily stark atmosphere. The lighting is also moody, editing transitions are smooth enough and the art direction isn't over-elaborate or cheap. The music is haunting without being over the top. Cole's title song is absolutely beautiful and as ever gorgeously sung. Lang's direction has moments of brilliance and he does direct with flair and competence on the whole.

Most of the cast do very well, with the standout being a terrific Ann Sothern, bringing sassy vim and colour to what is a grim story. Anne Baxter also compels in a haunted performance and Raymond Burr unsettles enough. Jeff Donnell is amusing. The film does start off very well, cute at times but with some nice tension too.

However, not everything works. Did find Richard Conte rather bland in a colourless role that doesn't suit him. The chemistry between him and Baxter felt under-cooked in a subplot that doesn't ignite or feel necessary. George Reeves could have done with more menace. The script could have been tighter and comes over as too over-heated when things get more desperate.

While Lang's direction does have moments of brilliance as said, where his trademark style is obvious, too much of it lacks distinction and imagination. The film starts off well and there is suspense, but that dissipates the more incredulous and credibility straining the film gets, which is the case of the final third. The worst aspect is the too suddenly introduced, contrived and too pat ending, where the incredulity is at its most obvious.

Summing up, worth a look but had room for improvement in some areas. 6/10.

The Blue Gardenia has a heckuva cast and good noir direction by Fritz Lang. The story and script pops, and it's great fun to see Anne Baxter and Raymond Burr drink, flirt, tussle, and the consequences of same.

Special Treat: Ann Sothern as the stunning, wisecracking Crystal (her lines could also have been delivered by Eve Arden); I could have watched a lot more of her.

Additional Special Treat: George Reeves as the police captain, complete with mustache (but not uniform). When you see him act here and in other movies, like "From Here to Eternity," you wonder how far he could have gotten if he had the opportunity for more prestige drama and even comedy roles. (I was a huge fan of "Superman" as a kid, however.)

Extra Special Treat: The inimitable Richard Erdman, best "second banana" in the biz. The first time I saw him was in "Cry Danger" with Dick Powell. I was immediately taken with how he didn't even seem to be acting--he was a master of off-handed, natural delivery. I wish there had been more of him here!

Unintentionally Funniest Scene (on pay phone):

"Officer, this is Casey Mayo of the Chronicle. Get that handkerchief right down to the police lab. I'll call Captain Haynes and tell him you're on the way."

"Yes, sir." (Hangs up.)

Uh, yeah, like a police officer is going to take an order from a newspaper guy, whose identity he hasn't even confirmed. But the plot must move on, so what can ya do.

With all its imperfections, plus a sudden ending with an implied motive, I'd say this is a must-see for all noir and Lang appreciators. It's an entertaining film!

One of Fritz Lang's lesser efforts this film is weighed down by a flat screenplay that gives the darkly great Richard Conte and the wonderfully sassy Ann Sothern not much to work with and a way too over the top performance by Anne Baxter that sounds as if Lang told her, "Whatever you did in "Eve", do the opposite". It does, however, feature properly moody cinematography by Nicholas Musuraka and one genuinely indelible scene, the one in the Great Early 50s Tiki Lounge with Baxter and Raymond Burr getting sloshed on tropical rum concoctions while the aging, Russian cigarette gal circulates and Nat King Cole, nattily attired (as usual,) with lay around necktie, croons the title song. Now that's noir! Give it a C plus.

PS...Appropriate that I saw this date rape flic on the day Cosby got sprung on a technicality.

Norah, a young, attractive woman (played by Anne Baxter), gets a letter from her overseas boyfriend, informing her that he has found a new love. At just the moment she realizes she has been rejected, the phone rings. It's a dinner invitation from a womanizer who thinks he is talking to one of Norah's two female roommates. Depressed and vulnerable, Norah impulsively accepts the invitation, on her own behalf. This is the setup for "The Blue Gardenia", set in the early 50s, a film with a good beginning and some really high-powered Hollywood talent.

The screenplay, with its contrived plot, and director Fritz Lang's ambivalent direction render a flawed production. The film's tone, expressed both in the B&W cinematography and in the music, tends to seesaw back and forth between romance and mystery. But, the film can still be enjoyable to viewers looking for a murder-mystery/romance combo that is not overly complex. The easy to follow plot moves along unencumbered by the confusion wrought by multi-layered plot gimmicks so common in today's films.

The film's ending is one for the books. In all the mystery films I have watched, I don't recall a murder investigation being wrapped up so easily as this one. It's way too neat and too tidy to be credible. The film's 88-minute run time leaves a lot of room for additional material. Expansion of the film's final Act could have provided a more realistic and satisfying ending.

I really liked seeing Raymond Burr and Ann Sothern. The film also sports some clever dialogue. With its interesting premise, "The Blue Gardenia", despite a flawed script, will likely appeal to viewers looking for a melodramatic film with a nostalgic setting, wherein the plot is straightforward. Viewers looking for a topnotch script and/or a complex storyline with lots of plot twists and subtlety will need to look elsewhere.

Blue Gardenia (1953)

The likable Richard Conte makes a great news reporter here, and Anne Baxter as the woman in trouble is pitch perfect. In fact, Baxter's two sidekicks are also right on, Jeff Donnell (a woman, really sharp) and Ann Southern. It's a good story, a little forced, but with lots of atmosphere at the right times (including a scene with the real Nat King Cole playing and singing).

What holds the movie back is a mixture of basic story line, which lacks velocity and credibility equally, and direction, which doesn't heighten what is really strong here. That is, a great cast, and some great situations (including murder). Fritz Lang, the director, is accountable, of course, for some judgements that let things loosen up too much, and for the cute but abrupt ending. There are some characters that got developed in the beginning that don't get a chance to blossom. If we just focus on the two leads (no counting Raymond Burr, who has a brief and different kind of presence), there is a chemistry not quite clicking. Nice, regular guy Conte and slightly sophisticated Baxter don't quite match up, even though both are convincing individually.

There is some talent behind the scenes here worth mention, especially cinematographer Nicholas Musuraca, who has done a whole slew of great small movies with astonishing visuals. Lang uses him well, though with a studied restraint that almost implies this was a throwaway effort. It comes between two of his greatest American movies, however: Clash by Night and The Big Heat. It's worth a look, a good movie not quite a noir by usual measures, but filled with intrigue and a little touch of welcome romance.

This one is a good example of the difference in appearance that emerged in the 1950's Film-Noir. The decade was finally starting to show the growth of the Post War economy and shine, so were the Movies, even the Noirs and it was the beginning of the end for the Genre.

The look was not the only thing that started to "lighten up", the Characters were becoming less cynical, more perky, and frankly more boring. This can be exemplified by the Roommates here that are so spunky and aloof that they seem to glide and float through this Mystery/Thriller. Low brow Blues and Jazz was replaced with the nonthreatening Pop softness of Nat King Cole.

The Director does use some inspiring shadowy scenes here, in the middle, during the most effective part of the Film as the Murder ensues and the aftermath is a Noirish blur. Notice how after the event the frame is bathed in partial darkness and things swirl and twist in a convincing confusion. But it doesn't last too long.

Most of the Movie is so breezy, light, and kind of syrupy that the Film's Noir is noticeably absent and what is left is straightforward Melodrama with a TV look. Not a bad Film just to pedestrian to be anything more than an above average Entertainment that is as inoffensive and fluffy as it is predictable.

The Blue Gardenia might be the kind of picture that Fritz Lang might make if he were under contract by the Lifetime TV network. This isn't so much an outright put-down as it is a matter of fact, and it goes without saying the mark that Lang puts somewhat at least on every picture. It's a tale of a woman in trouble for doing what seemingly should've been the most logical thing to do- however criminal- under the circumstances. Poor Norah Larkin (Anne Baxter, sweet and scared and sad, and lots of expressions of being provoked), she's just been dumped by her man who's off at war, and so in a moment of frustration she goes for heavy playboy/artist Harry Pebble (Raymond Burr, even with certain bulky charms, is still reminiscent of his classic part in Raw Deal as the villain), who takes her to the club of the film's title. After serenading her with live Nat King Cole, and a bunch of hoity toity rum drinks, he takes her back to his place and tries to have his way with her. She goes foggy after that - next morning, Pebble is dead, and "The Blue Gardenia" is the only suspect.

Maybe it's a harsh conclusion to jump to with saying it's like one of these prototypical melodramas where all of the women have crappy men in their lives and the moment they fight back they're looked on as the sudden threat (or, maybe that's just my impression of those TV movies). But even in the so-called realm of noir, Blue Gardenia doesn't seem to pack the same punch of the many others in the field, despite Lang's attempts to valiantly add some bits of humor (I loved the one woman who was sincerely trying to dupe reporter Mayo with being the Blue Gardenia and then changing her tone when looking at her shoes: "they're 8 1/2, sometimes 8 if I try"). It's predictable to a fault - and I'm not spoiling anything here kids - that she can't be the killer. How it happens isn't so much of a surprise as it's an inevitable conclusion with the nice touch being how Lang directs the actress when she suddenly realizes the jig is up; one is briefly, sharply reminded of the gusto in one of Lang's silent pictures.

But the fact that the Blue Gardenia is about what you'd expect doesn't mean it's not worth watching, especially if you're already getting into Lang's films or want to check out another noir with 'Blue' in the title (sans Chandler unfortunately). I liked Norah's roommates/co-workers, who had little bits of conversation early on that seemed a lot more natural than would normally come out of a melodrama (leaning more towards the sarcastic), and the whole aspect of the song itself, with that old-time melody crooning over as a marker of a crime and the attraction of one to the other in the dead of night. Respectable movie-making, though nowhere near brilliant, fix yourself a drink with a long, poetic description, and enjoy Baxter's descent into existential crisis 101.

Fritz Lang was pressed for time when he undertook to direct this movie. It shows! This film was based on a novel by Vera Caspary, the author of "Laura", but in comparison to her best known work, this story pales next to it. The screenplay by Charles Hoffman doesn't make it better, but it's far from a terrible movie.

If you haven't seen the film, please stop reading here.

First of all, this is not a movie that belongs to the film noir genre. Far from it, it is a movie with a mystery and perhaps some suspense. The only thing that might come close to being a noir is the a couple of sequences filmed during the night, but nothing else matches that category.

First of all, the heroine of the film is an ingenue. How else can we classify Norah, the young telephone operator from a small town near Los Angeles? She is in love with a G.I. that is serving overseas. Norah has received a letter from him, but waits until she is having a celebratory dinner by herself to read it. Well, she learns that she has been dumped. When the phone rings for her roommate, Chrystal, she answers and gets an invitation for dinner at the Blue Gardenia, a trendy eatery where "umbrella drinks" are served. Nat Cole is the entertainer singing a horrible little number that is repeated throughout the picture.

This is the beginning of Norah's downfall. She gets drunk and her date invites her to go to his apartment. Harry Prebble has other ideas of how to spend a relaxed night at home listening to Nat Cole's rendition of the song heard at the restaurant to put Norah into a romantic mood. She passes out, only to be awakened by an insisting Harry. We watch Norah reject his advances, a mirror is broken, and the next thing we know, he's dead.

To make matters worse, Casey Mayo, the local star reporter, takes an interest in the "Blue Gardenia" murder. Norah, who hasn't told anyone about her experience, is having pangs of anxiety. What to do? After all is investigated, everyone realizes Norah couldn't have done the murder herself. It's Mayo who discovers the secret because instead of Nat Cole in the record player, the LP they heard when they get to Harry's apartment is a Wagner opus. This in turn, solves the mystery in pointing to a minor character seen only for maybe a minute of screen time! That was the best example of true sleuthing.

"Blue Gardenia" shows us the young and beautiful Anne Baxter. Her Norah is a naive woman swimming in a sea full of sharks. Ms. Baxter does her best under the circumstances. Richard Conte, as Casey Mayo is sadly miscast in the movie. Sassy Ann Southern doesn't have much to do. Raymond Burr is effective as the lecherous Harry, but unfortunately he doesn't stay around too long.

The movie is a minor Lang.

In Los Angeles, on the day of her birthday, the telephone operator Norah Larkin (Anne Baxter) decides to celebrate dining alone at home, with the picture of his beloved fiancé, a soldier overseas, and reading his last letter for her. In the letter he tells that he met a Japanese nurse and he wanted to get married with her. Norah, completely upset, accepts to blind date the Don Juan and photographer of calendar girls Harry Prebble (Raymond Burr). They go to the Blue Gardenia Club, and Norah drinks six strong cocktails Polynesian Pearl Divers and gets completely drunk. Harry takes her to his apartment and tries to force Norah to have sex, and she uses a poker to hit Harry on the head. On the next morning, she wakes-up in her apartment with her two roommates, but she can not remember what happened. When she reads the newspaper, she finds that Harry is dead and the police has her handkerchief, her high heels and her blue gardenia and is chasing the woman that killed the famous wolf Harry. When she reads in the newspaper that the journalist Casey Mayo (Richard Conte) is offering his support, exchanging per an exclusive interview, Norah decides to call him.

"The Blue Gardenia" is a very simple story, but credible based on the behavior of the women of the 50's. Anne Baxter, a couple of years after "All About Eve", has another great performance in the role of a desperate woman that is not sure that is innocent and is completely lost, needing a friend to help her. The cinematography is excellent, and in addition the viewer has a chance to see Nat King Cole singing "Blue Gardenia", certainly a plus in this good movie. My vote is eight.

Title (Brazil): "A Gardênia Azul" ("The Blue Gardenia")

Norah Larkin (Anne Baxter) and her roommates are single gals working as a switchboard operators. It's her birthday but she is devastated by a Dear Jane letter from her soldier boyfriend in Korea. She takes a date with playboy Harry Prebble (Raymond Burr) who was actually calling her roommate Crystal Carpenter (Ann Sothern). She gets drunk and he takes her back to his place. She's passing out and he starts grabbing. She hits him with a fire poker and runs away in a daze. The next morning, Prebble is dead and the police investigates. Newspaper reporter Casey Mayo (Richard Conte) appeals to the mystery murderer.

This film noir comes from legendary director Fritz Lang. The subject matter of date rape is rather advanced for its time. The acting can be broad and melodramatic but it fits the old style noir. If anything, the plot twist lets the story off its hook. It's a more devastating noir if Norah is convicted and imprisoned for defending herself against a rape. It would also be too socially advanced for the woman to be disbelieved. The studio code would probably not allow something so subversive but it's probably more realistic especially back in the day.

Ann Baxter, never a star of the first rank, chiefly remembered for the film "All About Eve," here inaugurates her second tier status with this pedestrian role of woman in distress. Baxter plays Norah Larkin, a young naive woman, who is a romantic and overly sentimental. For Norah this is a combination of character traits that lead to the kind of complications found in dime store novels. Lurid, dime store detective pulps, the gorier the better, happen to be the passionate obsession of one of her room mates, Sally, a gawky, dim bulb played by the confusingly named actress, Jeff Donnell. Ann Sothern is the wisecracking, motherly presence, Crystal, the practical one of the trio, which doesn't stand for much in this storyline. All three share a one room LA apartment living dormitory style and when not working as switchboard operators for the telephone company, are occupied with men, dating and keeping their "honor" intact.

Trouble ahead!

After all this is 1953, and the world is divided among vulnerable females and predatory males on the make. Men carry little black address books with the phone numbers of hot, compliant babes, their attributes annotated by coded symbols. Hubba! Hubba! "If women killed every man who got fresh with them," Crystal wisely quips, "there'd be no men left in the world!" That's the set-up, so ladies, watch out.

Trouble ahead!

In comes one Harry Prebble, an artist known for drawing calendar girls, a profession which gives him convenient and abundant access to women. He's the guy whose main agenda in life is to seduce as many women as possible, females who in the end are disposable after use. Raymond Burr, TV's "Perry Mason," plays the physically large, ungainly, lumbering Prebble. As a seducer of women he's no suave, subtle operator. Only the most unworldly, and gullible would fall for his dating routine, one basically primed to get his date blind drunk, if not giddy, on exotic cocktails called Polynesian Pearl Divers. He's a deceiver all right.

Trouble ahead!

Another male not exactly on the up-and-up is Casey Mayo, portrayed by Richard Conte, a newspaper reporter always hungry for the big scoop, the hot copy. He's no genius either as he tries to be the first to catch a murderer at large, his main assets being a dogged stubbornness and determination that won't quit. George Reeves, TV's original "Superman," is Haynes the homicide detective with whom Mayo maintains an uneasy though companionable alliance. Richard Erdman is news photographer, Al, who serves as Mayo's devoted mascot, following him around relentlessly, hoping one day that some of Mayo's mojo with women will somehow rub off on him and that maybe, just maybe, he can get some of those phone numbers in Mayo's little black book.

And so, this is a prime example of a B movie trying to pretend that it is a crime drama and not a soap opera and failing to convince the audience that it is anything but a second rate and mildly entertaining potboiler. The highlight of the movie may well be the legendary Nat King Cole sitting at the piano, his velvet voice providing his rendition of the movie's insipid, schmaltzy theme song, "Blue Gardenia."