"Its subtle analysis of shadowy tropes proves both a continuation and a deepening of Preminger's use of moral ambiguity as a tool of human insight." - Fernando F. Croce

(DVD rewatch)

Preminger follows an anti-hero of dubious morals and ethics through a story wherein he's both the manipulator and victim of fate, Fallen Angel ultimately being marked by its director's fluid, smart style that sees beyond assumed character limitations and through to a thoroughly worthwhile film noir. In an important role, Linda Darnell is fabulous.

Interesting noir with very good performances from Darnell and Faye.

The plot was just too uneven for me. First the clairvoyant con-job, then the fake marriage shenanigans, then the tacked-on murder mystery at the end - individually, they're all solid components, but none of it really blends together to make for a compelling story. Linda Darnell and Dana Andrews stand out as great characters - tired, cynical and world-weary in equal measures - there's real chemistry when they're on screen together, but unfortunately they're kept apart for most of the film.

Preminger could craft noir like nobody else. All of the trademark stylings present in Laura are as apparent here, and in some instances taken to more extremes. The movie is full of amoral characters, including a charismatic Dana Andrews, who only becomes more and more detestable as the film goes on. And they're drenched in the starkest of chiaroscuro; this is one of the best looking noirs I've ever seen. The cinematography alone makes it worth the watch.

Dana Andrews trades in his usual terse-cop persona for that of a garrulous con man, and he wears it well throughout this one. Linda Darnell is also sexy as hell in her vamp role. The movie gets off to a great start, but then it bogs down in the middle with all of that legal business. Andrews' eventual romantic choice seems a bit too tidily virtuous; he doesn't act like he's any too broken up about what he may have missed.

An Strange way to find love...

Two fantastic female leads and strong supporting performances from Revere and Carradine create a world of attraction and disdain for Andrews' character to inhabit. His ambivalent views towards life, commitment and society are reflected in the film's pacing, steady but anxious with a hint of aimlessness. It all works really well with a series of little moments that build up to a strong ending. Really good noir photography too, though not spectacular.

A below-average, uninteresting noir. I had expected more, much more.

A real classic noir. Dana Andrews is great as always, and Alice Faye plays the role of the good girl well, but it's Linda Darnell who sets fire to the screen. While not quite a femme fatale, she does sizzle with sexuality and has a fantastic world-weary demeanor. The story moves along very nicely, a few somewhat dead spots but that's made up for by a number of terrific little moments. The ending is even a genuine surprise. Crisp dialogue and accomplished but unobtrusive camerawork seal the deal.

One scene, in particular, virtually makes the film. Andrews is lying on a bed, his face half erased by shadow. His desperate wife sits above him, bathed in warm light. The contrast between their psychological states as she rattles on about their being "fallen angels" struggling for goodness is so perfectly captured visually, it hardly matters that this beautiful woman ought to have better recourse than a brooding drifter.

I found this utterly average for the most part. It salvages itself somewhat with a nice twist at the end, but I was pretty bored up until that point. The story isn't particularly compelling or well-executed, the cinematography is bland, the direction is nothing more than competent, and the entire thing feels rushed. I do like Dana Andrews, though. Save your time and watch Laura, a much better effort from Preminger.