There’s something engrossing in the character study of a beautiful psychopath. In Otto Preminger’s ANGEL FACE (1953), we get up close with an alluring monster. Don’t be too disappointed that only few spoilers and not much plot details are coming your way. This film is not a whodunnit murder mystery. Oh sure there will be murder. But there’s no mystery of this particular killer… and all her particulars.

In the first ten minutes, we are at the scene of what appears to be an attempted murder at the wealthy Tremayne estate. Mrs. Tremayne (Barbara O’Neil) was overcome by gas fumes, as police and paramedics arrive. The gas key was hidden under the fireplace logs (or was it accidentally kicked in the confusion?), but luckily a distraught Mr. Tremayne (Herbert Marshall) got there in the nick of time and he insists suicide isn’t a possibility. Mrs. Tremayne asserts someone is trying to kill her.

Paramedic/former race car driver Frank Jessup (Robert Mitchum) notices a beautiful woman (Jean Simmons as Diane Tremayne) serenely playing the piano on his way out. She is calm and carefree until Frank informs her that her stepmother is going to be just fine. Then she falls apart into crying hysterics. Frank shakes her and slaps her hard across the face. Suddenly cool as a cucumber again, she slaps him back. This opening scene tells us everything we need to know.

She aggressively pursues and manipulates Frank at every possible turn. She needs a patsy but also finds him sexually desirable. She uses her physical beauty and charms to lure, or set up anyone, to attain her own narcissistic, personal goals. Because of her beauty, class status and sophistication, she seems to get away with almost anything. And obviously always has. She’s given a pass by nearly everyone. But if you listen closely, she tells us who she is, from the beginning. After Diane follows him to a local diner…

Frank: “You do get around fast, don’t you?”

Diane: “I left my broomstick outside.”

Frank: “I’ll have a beer, Harry. (Then turns to her.) And what do witches drink?”

She came prepared. Frank is a ‘guy’s guy’ in every possible way (you can practically smell the musk oozing off the screen), including being an ex-race car driver with his big racing dreams. But she brought the honey to this honeypot. If her looks didn’t grab his attention, surely her 1949 Jaguar XK-120 roadster and her promises of reigniting his former glories as a race car driver whets his appetite. Proof is in the pudding as he proceeds to lie to his girlfriend (Mona Freeman as “Mary Wilton”) over the phone and break his date in order to be with Diane.

As he continues to turn his attentions to Diane over Mary, Diane reveals the red flags of her sinister ways, but he remains. Diane: “Go ahead hit me.” Frank: “First I’ll buy you dinner, then I’ll hit ya.” Diane: “When I tell you what I did you probably won’t want to see me again, ever.” Frank: “Sounds pretty grim.” Diane: “I had lunch with Mary I told her about last night… oh not everything just that we went out together.” Yup. Scheming, sadistic bit__.Well, you get the idea.

Frank’s incredibly confident, self-assured, and sharp. He’s no dope- or is he? Is she setting a trap because she’s worried he already knows her dark side? Or is she just sexually aroused, and used to getting whatever she wants? Is he a trophy, a sap, or an alibi for her? Perhaps all are true here.

In watching this film, it’s not hard-pressed to see some similarities to other noir ladies- namely THE POSTMAN ALWAYS RINGS TWICE, OUT OF THE PAST, and a touch of DOUBLE INDEMNITY. Perhaps TOO LATE FOR TEARS, too. Yes, other films have their share of extraordinary femme fatales. But Diane stands out. She already has everything. She’s doesn’t hunger for money, she’s wealthy. At the onset, she doesn’t really yearn for a lover, Frank starts out as merely an ends to a means for her. A tool of lust, sure, but more of a tempting challenge. Like a cat toying with a mouse, trying to decide to continue to play or to pounce. One thing is clear- she is obsessed with her father’s love. And she already has it. But it’s not enough. She won’t share. Her greed wants more. That greed will take us on a twisty road trip of doom- and she’ll happily drive us all right off the cliff.

Born in London January 31, 1929, Jean Simmons started fame in her teens. She was enrolled in dance school at fourteen years old when she portrayed Margaret Lockwood’s younger sister in GIVE US THE MOON (1944). She continued acting in British production films throughout her teens, including playing “Ophelia”, co-starring with none other than Laurence Olivier in HAMLET (1948), which earned her accolades and an Oscar nomination as Best Supporting Actress. In 1945, she signed a seven-year contract with J Arthur Rank, who later sold her contract to Howard Hughes at RKO. In 1950, Simmons married fellow actor Stewart Granger who was contracted with MGM, and they moved to Hollywood.

Little did they know how much of a nightmare they would soon face with Hughes. He pursued Simmons for a sexual relationship so persistently that finally Simmons sued RKO to release her contract under Hughes. She took him to court and they negotiated a deal that included three more pictures for RKO, within a limited timeline, before she could finally be free. The trio turned out to be ANDROCLES AND THE LION (1952) co-starring Victor Mature, SHE COULDN’T SAY NO (1953) her first co-starring Robert Mitchum, and the last film, ANGEL FACE. It was based on an original story by Chester Erskine, “Murder Story.” Hughes sought out Otto Preminger as director and enticed him with carte blanche control by making him producer, as well.

Hughes was aware that Preminger had a double reputation- as a director who made great films- but also one who tortured young actors on his sets. Hughes was determined to get his last dig in. With a month and million dollar budget, Preminger was not thrilled with the original script so he brought in high caliber writers- Frank S Nugent, Oscar Millard, and Ben Hecht. Hughes was not subtle when he passed the keys to Preminger- he didn’t care how it was made, as long as he made Simmons suffer. Case in point, in the opening scene as Mitchum slaps Simmons across the face, Preminger asked Mitchum to make it real, and to not hold back. After Preminger sadistically asked for multiple retakes of this moment, finally Mitchum was fed up, walked over Preminger and slapped him HARD across the face, then asked if that’s what he had in mind. Mitchum continued to protect Simmons on the set from Preminger’s tyranny and she was forever grateful.

The ending of ANGEL FACE (1953) is dark and bleak, even within the most noir entries of film noir. This film builds a doomed and suffocating tension and doesn’t sugarcoat anything along this dark journey. If you haven’t watched ANGEL FACE before, buckle up and enjoy the ride. But check the breaks first, and watch out for those hills. The first drop is a doozy.

CAST and Crew:

Directed and produced by: Otto Preminger

Writing credits: Frank S. Nugent, Oscar Millard (screenplay by), Ben Hecht (screenplay by, uncredited), Chester Erskine (story by)

Cinematography by: Harry Stradling, Sr.

Music by: Dimitri Tiomkin

Robert Mitchum … Frank Jessup

Jean Simmons … Diane Tremayne Jessup

Mona Freeman … Mary Wilton

Herbert Marshall … Mr. Charles Tremayne

Leon Ames … Fred Barrett

Barbara O’Neil … Mrs. Catherine Tremayne

Kenneth Tobey … Bill Crompton …

Raymond Greenleaf … Arthur Vance

Griff Barnett … the judge

Robert Gist … Miller

Morgan Farley … Juror