has all the usual traits of film noir; it’s underpinned by suspenseful fatalism; its characters are inherently gloomy. The one major difference? It is filmed in what Martin Scorsese dubs “glowing and gleaming technicolour” – the almost hyper-real world of its cinematographer Leon Shamroy dominates the screen, and rightfully won him the 1945 Academy Award for best cinematography – which makes its truly immaculate costume design all the more satisfying.
Ellen is a woman who always wins – fierce, passionate, and also, it’s rapidly revealed, slightly unhinged. Her possessiveness of Harland soon begins to undermine all relationships in her life, as she seeks to desperately keep the two isolated from the world around them: “I don’t want anyone else to do anything for you but me,” she says. Her mother contends: “there’s nothing wrong with Ellen. It’s just that she loves too much.
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