Possessed (1947): Curtis Bernhardt’s Psycholgical Film Noir, Starring Joan Crawford in Oscar-Nominated Performance

German emigre Curtis Bernhardt directed Possessed, an uneasy combo of a psychological film noir with strong elements of a typical woman’s melodrama, elevated by Joan Crawford in her second Best Actress Oscar nomination.

Possessed
Possessed47Poster.jpg

Theatrical release poster

Grade: B (*** out of *****)

Van Heflin, and Raymond Massey co-star in this tale of an unstable woman’s obsession with her ex-lover.

The overwrought screenplay by Ranald MacDougall (Mildred Pierce) and Silvia Richards was based upon a story by Rita Weiman.

It was one of the first American films to play in the nascent 1947 Cannes Film Festival.

When the story begins, a woman (Joan Crawford) is found wandering in the streets of Los Angeles, unable to say anything other than one word, “David,” apparently seeking an old lover.

The tale unfolds in flashbacks when, after getting admitted to a hospital, the woman recounts chapters of her troubled life and how she has descended into obsessive madness.

She reveals herself to be Louise Howell, an emotionally unstable woman who had worked as a nurse to the invalid wife of Dean Graham (Raymond Massey) in the Graham home.

Louise fell in love with neighbor David Sutton (Van Heflin), an engineer, who loathes her smothering passion for him; he ends the relationship and leaves the area.

Shortly after, Graham’s wife drowns, and it’s unclear whether she committed suicide or not. Louise remains with the family as they move to Washington, D.C., to care for Graham’s children: young Wynn and college-age Carol (Geraldine Brooks).

Time passes and David re-enters the scene, having taken an engineering job with Graham. He is surprised to find Louise with the family. Still obsessed with David, Louise makes a pass and is rebuffed.

When Graham proposes to Louise, she tells him that she is not in love with him, but accepts his offer to salvage her pride. Graham pledges to make it work in spite of that.

Carol takes a fancy to David, much to the consternation of Louise, who tries to dissuade her from establishing a relationship with him.

Louise’s mind begins to decline with her obsession over David; she starts hearing voices, has hallucinations, and believes that her husband’s first wife is still alive.

When David and Carol consider marriage, Louise tries to end their relationship. Graham is concerned about Louise’s mental state and tries to persuade her to see a doctor.

Believing her husband is trying to put her away, Louise bursts into David’s apartment and kills him in a schizophrenic episode.

The psychiatrist pronounces her insane and thus irresponsible for her actions. He laments that he had not seen her sooner, as he is believes that he could have salvaged her.

Noir with Happy Ending?

In the forced (uncompelling) ending, he intends to help Louise back to sanity, knowing that the process will be long and arduous, with pain and suffering.  Graham pledges his full support, vowing to always be there for her.

Crawford spent time visiting mental wards and talking to psychiatrists to prepare for her role, later claiming it was the most challenging part she had ever played.

During production Bernhardt accidentally kept referring to Crawford as “Bette” as he had just finished filming A Stolen Life with Bette Davis.

Crawford tried unsuccessfully to convince Warner to change the title to The Secret since she had already starred in a film of the same title (Possessed) earlier in her career.

Franz Waxman atmospheric musical score includes a piano piece by Robert Schumann, the “Chopin” movement from the Carnaval (Schumann) Op. 9. The Schumann piece is played by David near the beginning of the movie, and is used throughout the score to underscore Louise’s obsession with David.

Crawford’s work is strong as a frustrated woman ridden into madness by guilt-dominated mind, possessed with devils and delusions.

Telling the story from a subjective perspective of a disturbed woman, who cannot distinguish between reality and delusion, is one of the stylistic devices of film noir. In its good moments, the film has the ambience of a dream/nightmare.

But Bernhardt’s direction–relying heavily on the vocabulary of film noir–is too explicit and overwrought, which emphasizes the shortcomings in the writing.  The film veers uncomfortably between a dark psychological noir and a preposterously plotted woman’s picture

Ultimately, the well executed Jerry Wald production serves as a star vehicle for Crawford, in her new home studio, Warner, having getting fired by Louis B. Mayer after 18 years of loyal service.

As noted, Crawford earned a Best Actress nomination in a year that was weak for female performances.  The winner that year was Loretta Young for the comedy, The Farmer’s Daughter.

The movie was a hit, earning over $3 million the global  box office ($1,987,000 domestic and $1,085,000 foreign) on a budget of $2.6 million.

Cast
Joan Crawford as Louise Howell
Van Heflin as David Sutton
Raymond Massey as Dean Graham
Geraldine Brooks as Carol Graham
Jakob Gimpel as the concert pianist
Stanley Ridges as Dr. Willard
John Ridgely as Chief Investigator
Moroni Olsen as Dr. Ames
Erskine Sanford as Dr. Sherman

Credits:

Directed by Curtis Bernhardt
Produced by Jerry Wald
Screenplay by Silvia Richards, Ranald MacDougall, based on One Man’s Secret
1943 novellette in Cosmopolitan (magazine) by Rita Weiman
Music by Franz Waxman
Cinematography Joseph Valentine
Edited by Rudi Fehr
Distributed by Warner

Release date: July 26, 1947

Running time: 108 minutes