The Flame (1947)
George McAllister, the black sheep of a wealthy family who has squandered his share of the family inheritance, lives in constant jealousy, hatred and resentment of his half-brother Barry, who has been supporting him. George gets his girlfriend, Carlotta Duval, a job as Barry's nurse, with the idea being to marry him, kill him, and inherit his money—and marrying George.
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This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.
The film's masterful storytelling did its job. The message was clear. No need to overdo.
It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,
Worth seeing just to witness how winsome it is.
"The Flame" is a dark but disappointingly routine melodrama of the seen-it-a-million-times-before variety. A French nurse, in cahoots with her sleazy American lover, agrees to marry his ailing half-brother in order to gain his wealth. Guess what -- she begins to fall for the bore (who whiles away the hours playing dirges on his Hammond organ).John Auer was one of the more talented directors working in the B-movie mill of the 40s, and he injects the picture with enough visual panache to give it a professional veneer and subtle moodiness. But what can you do with this cast from hell -- particularly Vera Ralston, at her most wooden (her voice-over narration is practically indecipherable).A couple of reels into the film, things briefly perk up when a young Broderick Crawford unexpectedly slides into the narrative as a dour potential blackmailer who gets wise to the scam. Even better, his sometime girlfriend is a sexy cabaret performer played by the always fascinating Constance Dowling -- her Gilda-style song and dance routine gives Auer a chance to show his licks. But the brittleness all dissolves pretty quickly into some very unwelcome sentimentality towards the end.