The Guilt of Janet Ames (1947)

US / 83 minutes / bw / Columbia Dir: Henry Levin Pr: Helen Deutsch, Virginia Van Upp Scr: Louella MacFarlane, Allen Rivkin, Devery Freeman Story: Lenore Coffee Cine: Joseph Walker Cast: Rosalind Russell, Melvyn Douglas, Sid Caesar, Betsy Blair, Nina Foch, Charles Cane, Harry Von Zell, Bruce Harper (i.e., Coulter Irwin), Arthur Space, Richard Benedict, Frank Orth, Victoria Horne, Hugh Beaumont, Doreen McCann.

Although sometimes listed as a film noir, The Guilt of Janet Ames is really a philosophical piece ruminating on guilt, morality, the selfishness of grief, redemption; there are some noirish tropes if you care to look for them, but then you could also find parallels with It’s a Wonderful Life (1946) dir Frank Capra if you were desperate enough. (You might, for example, point to the fact that both are Christmas movies, even though they have a completely different feel.)

Rosalind Russell as Janet Ames

But before making any such claims it’s worth noting that The Guilt of Janet Ames is upfront and center concerning the inspiration it owes to George du Maurier’s 1891 novel Peter Ibbetson and in particular the Continue reading

The Spiral Staircase (2000 TVM)

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Not so much a remake, more a sorry porridge!
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Canada, US / 88 minutes / color / Shavick, Saban International Dir: James Head Pr: Shawn Williamson Scr: Matt Dorff Story: Some Must Watch (1933) by Ethel Lina White and (uncredited) The Circular Staircase (1908) by Mary Roberts Rinehart, plus screenplay by Mel Dinelli, Helen Hayes and Robert Siodmak for The SPIRAL STAIRCASE (1945) Cine: Gordon Verheul Cast: Nicollette Sheridan, Judd Nelson, Alex McArthur, Debbe Dunning, Christina Jastrzembska, Dolores Drake, David Storch, William McDonald, Holland Taylor, John Innes, Brenda Campbell, Candice McClure (i.e., Kandyse McClure), Dallas Thompson, Charles Payne, Kristina Matisic.

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Although this movie claims in its opening credits to be a remake of Robert Siodmak’s classic period noir The SPIRAL STAIRCASE (1945), just about everything that distinguished the original movie from a run-of-the-mill murder mystery has been excised.

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Despite all the plot-changes, this remake is ready to offer the occasional visual quote from Siodmak’s original.

Perhaps most importantly, the killer’s motivation has been altered. In the original, the killer has a psychotic detestation of disabilities in women; this puts our heroine, who’s a traumatic mute, in severe danger of being his next victim. Here the motive’s just the humdrum one of financial gain—there’s an inheritance up for grabs—and, when this motive is suddenly produced in the final minutes, it makes no sense, because we’ve been told the killer has been murdering and assaulting pretty young women at random for some while. Furthermore, the muteness of the central character has no real impact on the plot—in fact (and this is actually quite cleverly done), we’re a good few minutes into the movie before we realize she’s mute at all.

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Helen (Nicollette Sheridan) hears a strange noise outside her bedroom.

Here’s the plot in short:

There’s a prologue in which a young girl (not properly identified in the credits) is walking home at night in Westport, Washington State, when she encounters Continue reading