Smart Woman (1948)

A brilliant film that helped define a genre

Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

The film never slows down or bores, plunging from one harrowing sequence to the next.

Good govt league DA Wayne--corrupt what does crook have on her? kruger tells sullivan he's going to give lattimore evidence on him! then stands VERY close to him with gun good up until shooting--then didn't make a lot of senseWhen the story begins, a grand jury is furious that the District Attorney (Otto Kruger) has not prosecuted a murder trial that would expose the mob running the town. So, they petition the governor to send in a special prosecutor, Mr. Lattimore (Brian Aherne) to look into things. In his first case, Lattimore is opposed by a sharp lady lawyer, Paula Rogers (Constance Bennett). Soon, the unlikely pair begin dating...which is a problem since the head mobster (Barry Sullivan) has some sort of control over Rogers. What's next?I really liked this film up to the shooting that occurred towards the middle of the movie. At that point, things just didn't make a ton of sense and the story seemed like it could have used a re-write to smooth things out a bit. It wasn't terrible then...but it wasn't the most satisfying turn in the picture and why Paula was being blackmailed didn't seem that compelling. Still, on balance, the good still outweighed the bad and it is worth your time.

Despite the engagement of a third-string director in Mr. Blatt (who did far, far better work with "Escape in the Desert"), this movie will still appeal to solid fans of Constance Bennett (here making one of her final films as a leading actress, although her career would continue in shine in minor roles.) Unfortunately, "Smart Woman", despite its engaging title, was not the catalyst Constance needed to remain at the very top. True, it's a high grade woman's picture, featuring polished performances all around, plus elegant photography and attractive sets. In fact, production values shine all around!The script, alas, despite its promising plot, is only moderately interesting. It lacks oomph! Worse still, the direction never sparkles and rates no more than very disappointingly routine.

Standard "film noir light", this courtroom drama focuses on special prosecutor Brian Aherne and his personal romance/professional rivalry with defense attorney Constance Bennett over a sleazy rat (Barry Sullivan) who has been blackmailing her into defend him for his string of underworld crimes. He's under the thumb of ruthless D.A. Otto Kruger whose involved in some criminal activities of his own, and when Sullivan is put on trial for murder, Bennett must find a way to defend her client while not loosing the man she loves, yet also reveal the string of dirty deeds which Sullivan has committed over the years without getting prosecuted.Lavishly filmed at the former Monogram studios (now renamed Allied Artists with a slight polish, even in the Bowery Boys films they were famous for), "Smart Woman" is an enjoyable but predictable drama of vice and graff in L.A.'s legal system. There's never any real surprise, but small details in the film (including James Gleason as Aherne's courageous assistant and Michael O'Shea as a wise-cracking hanger on who is obviously in love with Bennett) stand out. Gleason's character, Sam Corkle, must be a distant cousin of his "Here Comes Mr. Jordan"/"Down to Earth" character Max Corkle, or a long lost twin.There's fine support from Isobel Elsom as Bennett's Billie Burke like mother, Selena Royle as Kruger's naive wife and Richard Lyon as Bennett's son, but there's never any doubt how this will play out. Bennett is still gorgeous here at 44, but unlike other vets Davis, Hepburn, Stanwyck and Crawford, was fading from the main stem of leading ladies. Aherne is likable, Kruger despicable and Sullivan an interesting amalgamation of good and evil, perhaps the most real character in the film.

Constance Bennett's career seemed to be on the skids by the 1940s, which saw her appearing in B-movies and supporting roles. By 1948, she was producing her own films (she also produced Paris Underground in 1945). Both of these films are well-made late career entries for a fading star.In Smart Woman, Bennett is supported by a strong cast, which includes Brian Aherne and Barry Sullivan, plus a host of reliable supporting players such as Otto Kruger (whom I remember as the older man opposite Joan Crawford in Chained) and Selena Royle (also opposite Joan Crawford in Damned Don't Cry).The script is intelligent if not a roaring success. The chemistry between Bennett and her co-stars does not run particularly hot, but Bennett does get a chance to wear some gorgeous Adrian gowns and prove she is still a good-looking woman at the (then) advanced age of 43. The photography is polished and Bennett seems to be lit and photographed very, very carefully. There are even some noirish camera angles and shadow play. Bennett's performance is strong and does not appear dated with any evidence of her days as a silent film star. Her style seems contemporary, although Bennett is no longer the hypnotic beauty of her precode heyday.As Bennett's second production effort, it is a solid vehicle for her, and an interesting film overall, but it was just not powerful enough to give her career any boost. After this, it was all supporting roles. But the film can easily be recommended as a glossy, well-made women's picture. If the film had a low budget, it's impossible to tell.