My favorite character in this movie was "Dixie Pomeroy" played by Ms. Phyllis Brooks, and how all the Americanisms in her lines rolled so smoothly off her tongue, and passed through her beautiful lips so naturally, that I was smiling and chuckling through them all.. I liked the movie, and the other big star cast members, but her talent, and attractiveness, really stood out to me, and I wished that there was more of her in this film. Thank you Ms. Mars, for making my night a more enjoyable one.
The Finger of Fate When I first came upon the title, I said to myself, “I’ve seen this one”. I was mistaken. I had watched, “Bad for Each Other” which also starred Lizabeth Scott (with Charlton Heston as her co-star). Somehow there seemed to be a connection between the titles with Scott the common denominator. Lizabeth Scott and Edmund ‘O Brien were Hollywood big hitters in their respective ways. True to form they turn in commendable performances in this neat and compact tale of conspiracy and deception with some sharp twists and turns signposted along the way. Both these stars play and feed off each other with charm and wit. Although the picture is primarily a plot-one driven with an intriguing developmental arch featuring the evolving relationship between Scott and ‘O Brien, the action is punctuated by some snappy dialogue and some clever one lines. Director, Henry Levin (“Night Editor”, seen on this channel previously) handles the unfolding action with great care. Scott stood out in every role she featured in, cementing her reputation as a formidable leading star who oozed chemistry and dynamism. She is unforgettable, here, in a demanding role - one in which she transitions from unscrupulous conspirator to one who discovers her sense of humanity. The ability to transition is the hallmark of versality (watch her in “Pitfall” and “Too Late for Tears”). The award winning ‘O Brien never disappoints. He has been aptly cast opposite Scott, here. These two stars give the film its driving momentum. This is an enjoyable and suspense-filled film with a liberal sprinkling of comedic moments involving the talented Terry Moore (still going strong at 95 years). She seems a trifle tiresome at times. You soon realize, however, that the script called for her portrayal of the classic, annoying, eccentric type which she plays to perfection. These comedic moments are slipped in between the rising tension one truly spine-chilling-finger-jerking episode, evocatively enacted, which will have you writhing in agony. Ouch! I cannot recall a more painful moment in film noir. Thank you, Isabella. The film was worth the time invested in watching it. Scott and ‘O Brien always serve up a treat, together they are a bonus.
Yes, I always think of her as the alternative Lauren Bacall. It's Margaux Hemingway, I always remember the unusual spelling of her name, but did not know that about her. Even her voice had the same timbre.
I did wince when lefty (Edmond O'Brien) volunteered to have his finger caught in the car door. I was familiar with Edmond as an actor; in films from my youth but from which film(s) I could not be certain. It was nice to see him once again in this film. Brandy (Lizabeth Scott; interesting spelling) was familiar to me as well; I knew her from the Film Loving You with Elvis. Apparently in the film she bit him on the cheek declaring it as "just a little love nibble." That would be an interesting alterative take, if it still exists. Two of a Kind was quite the enjoyable film and a very good example of the noir genre.
I know what you mean, that was a little extreme, to say the least, not to mention unexpected! Yes, I remember Lizabeth Scott from that film as well, I like the first four Elvis movies, especially King Creole. I'm sure it's not a film noir for purists, but it certainly has the cinematography and character types that epitomise one. I enjoyed the unexpected storyline.
Thank you 😉 I'm glad you enjoyed it 🍿There's another Jeff Chandler Movie you might like, The Tattered Dress 1957 ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-uiXvV3E7P1Q.html but maybe you saw it already 👀
This print's one of the best I've ever seen. I suppose a first rate restoration probably will never happen to this overlooked camp masterpiece (assuming the original master even still exists) since it has white people playing Asians, and the movie was a flop on its initial release because World War II knocked "exotic" movies out of style (except for "sarong" movies). Just the same, these characters are the essence of cool.
Thanks, that's an interesting insight, it is opulent and decadent so it makes sense. Thank you for your notes about the quality too, I'm gratified, it took a lot of thought to edit it so it looked and sounded good, it's a visual feast!
Turns out there is a book on ebay called Kleptomania. However, not by A. Parker (11:05). I must say the police were portrayed as a very efficient force with which to contend, even for shoplifting; a largely ignored crime in 2024. A minor discovery: The Aunt, played by Nana Bryant, had a singing role in another film, Ladies of the Chorus (1948) which also featured Marilyn Monroe. It is always enjoyable when a film ends with a marriage proposal; this film did not disappoint.
I had not thought of finding out if the book actually existed, alas even the assistant says no. Of course, buying it would defeat the purpose !) I thought the same thing, now if something is stolen it's an insurance claim, not a crime. I'm glad you enjoyed it, it's a more light-hearted film than usual, I should really try to mix things up a bit, and of course, find a film where the actress herself sings...
Bloomin' Booster Business People often use mainstream criteria to judge “B-Graders”. This is a mistake. One always needs to be cognisant of the contextual factors that inform a film’s production values. “I Was a Shoplifter” is a low-budget, “B-Grader”, which must be viewed as such from the outset without any preconceived notions or expectations. Seen in its context, then, this is a neat and compact film that does not fail to deliver on entertainment. The subject matter revolves around a well-known (but often neglected) socio-economic problem that is a modern-day menace. The scourge, that is shoplifting, is highlighted at the beginning in a semi-documentary style and the scene is thus set for a vivid dramatization of the problem. The viewer is offered a double perspective, from the vantage point of both the law enforcement agencies as well as that of the perpetrators. The action rises, the tension mounts and the film spirals towards a thrilling climax, culminating in a border-crossing-car-chasing-fisticuffing-suspense-filled finale which is directed and shot with care. Look out, too, for ‘50s state-of-the-art police-surveillance technology (a mega-dinosaur by today’s standards) and brush up on the rudiments of international law and jurisprudence. Scott Brady (playing a similar role as in “He Walked by Night”) is always a dependable performer. I enjoyed Mona Freeman whose sense of vulnerability reminded me of Phyllis Thaxter in “Women’s Prison” although I felt that the psychology behind kleptomania, a serious illness, could have been explored slightly further without incurring any additional costs - this to throw more light on and to authenticate Freeman’s dilemma. The standout star, of course, is Andrea King who dominates the picture. This radiant star sparkles. She is a commanding presence in each of her scenes. Future star, Tony Curtis, also makes a positive impression. Thank you for recovering this from obscurity, Isabella. It was worth the time invested in watching it. I would have chosen a different title, though.
Thanks, Charlie, I'm glad you enjoyed it and gave it a chance. I like B-Movies and TV Movies partly because there's no pressure or expectation. If it's a pretty good story and pretty entertaining or interesting it's already a win. Andrea King is great here, a formidable foe, and it's good to see Tony Curtis in an early role. His first role was in Criss Cross 1949, just a few seconds of dancing, even so, he's memorable, I remember noticing him by chance one day, it's a great film. Despite the humourous aspects of the picture, especially as viewed now, the acting and especially the cinematography are wonderful. Thankfully, it's sharply preserved. It doesn't have everything, but it has some things, not bad!
Thanks, I looked into them, they are both actors I'm so familiar with, but am not familiar with their careers. I would never have known they were brothers, until now.
Some interesting one liners: “These confounded Asiatics insist on trying to speak English” Wonder how this will go down today in a post-colonial context. Would probably be banned. Anyway, it's a revelation of the times. “Nuts always come to those who have no teeth”. This is amusing.
This is what one may call a grand noirish spectacle, filmed against the backdrop of lavish splendour. The haunting musical score at the very beginning together with the arresting visual image of the “distorted mirror of problems” sets the scene, appropriately, for the drama that is to play out. We are immediately thrust into a scene that, a year later, would find echoes in Michael Curtiz’s, “Casablanca” with the glitz and glamour of the world of the casino. Look out for the roulette as an ever-present motif symbolizing fate, destiny, and chance. The great port city of Shanghai in1941 is a melting pot of cultures, a continuous flow of people bringing with them intrigue and drama. Unlike traditional film noir, the viewer is taxed (at least I was) to figure out the thread of the plot which in the early segments of the film appears to be decidedly elusive. One must tease out apparent inconsequential connections to make sense out of the exposition stages. This, however, ought not to diminish one’s enjoyment, enhanced by the brilliance of the extravagant interior designs and eye-catching costumes on display. Director Josef van Sternberg carefully drops various strands of a seemingly thin-layered plot only to weave them, gradually, into an interesting pattern. All this is brought together in a breath taking climax to reveal a tale of deception, heartbreak, and consummate vengeance. Amid this, are the timeless themes of greed, the quest for power, debauchery, and ruin. It’s a long but rewarding wait to get to the root and the fruit of the drama. Gene Tierney (was there a more beautiful star of this era!) makes a stunning entrance. Unfortunately, the latter part of her performance (particularly in her concluding scenes) suffers, somewhat, from a slight descent into the realms of melodrama. Nothing overly serious to detract from her overall impact. This is understandable, for these were early days for Miss Tierney who would of course go on to make her name among Hollywood’s greats. Many viewers will long remember, “The Shanghai Gesture” for one reason: the larger-than-life and imposing presence of Ona Munson. Her’s is a commanding performance that towers above everybody else. In my book, however, Walter Huston delivers the most compelling and creditable performance. He was top-notch star and its easy to see why. Victor Mature has also garnered critical acclaim for his portrayal of the unscrupulous tempter. Feast your eyes at the spectacle that unfolds before your eyes and imbibe the drama that follows. Thank you, Isabella!
Thank you, Charlie, for another insightful review. For me, it's a visual feast, Ona Munson's Costumes are audacious at the very least! It has many of the qualities of a silent movie, long after that genre had been forgotten, and I enjoy the change in style from the '40s and '50s noirs I usually post. Josef Von Sternberg had a love of the dramatic and decadent. I suppose Capital cities and ports are the epicentre for such things with transient populations in search of more... Gene Tierney looks stunning, Walter Houston portrays his hidden depths, and we are entertained, not bad for eighty years old. Thank you, Charlie, until more...
@@charliewest1221 Thanks, Charlie. I like non-places like airports, service stations and forgotten motels. I figure Capital Cities and Ports are much the same - Last Chance Saloons.
I don't like the character mr deed..he's rude just like all the people he doesn't like. And of course the ending is made to end a happy ending. I definitely didn't like this movie
Thank you! I always add all the subtitles I can find, but I'm never sure if they are used! I'm happy they were helpful, and thank you for taking the time to comment :)
Oh! Thank you, I'm glad you enjoyed it, they work surprisingly well together in this film and it's a good story. Thank you for taking the time to comment 😊🤠🥳
If ‘Mother’ wasn’t happy nobody was going to be happy; she made sure of that! The sort of woman no man wants in his life; I’m sure Sir Guy Charteris (Poppy’s father) was thinking along the same lines in the last stages of the film. It was good to see the actress Ona Munson (Mother) in a strong role; she carried herself in a convincing manner. I am not sure what to make of the film’s ending. It felt bitter and suggested emptiness in the portrayed lifestyle; perhaps that was the intended emotion.
The storyline is likely the result of Eric Von Stroheim's love of the decadent, it's a spectacle more than a morality tale. I think this film is reminiscent of silent films in many ways, it's for the eyes...
I ran out of space for the extensive information available surrounding this film in the description, continued below... Production The Shanghai Gesture is a 1941 American film noir directed by Josef von Sternberg and starring Gene Tierney, Walter Huston, Victor Mature, and Ona Munson. It is based on a Broadway play of the same name by John Colton, which was adapted for the screen by Sternberg and produced by Arnold Pressburger for United Artists. Awards Boris Leven received an Academy Award nomination for Best Art Direction, while Richard Hageman was nominated for Best Original Music Score. Trivia The last Hollywood film that Josef von Sternberg saw through to completion--he was fired from Macao (1952) and Jet Pilot (1957). Quotes 'Mother' Gin Sling: [of an ordinance that would outlaw her establishment] I've lived by my own ordinances for a long time now, and I intend to disregard all others. Crazy Credits Opening credits: "Years ago a speck was torn away from the mystery of China and became Shanghai. A distorted mirror of problems that beset the world today, it grew into a refuge for people who wished to live between the lines of laws and customs - - a modern Tower of Babel. Neither Chinese, European, British nor American it maintained itself for years in the ever increasing whirlpool of war. Its destiny, at present, is in the lap of the Gods - - as is the destiny of all cities. Our story has nothing to do with the present." Connections Featured in The Society of the Spectacle (1974) Soundtracks I'm Always Chasing Rainbows (1918) (uncredited) Music by Harry Carroll Lyrics by Joseph McCarthy Played on piano by Rex Evans at Gin Sling's dinner party Taglines "POPPY"...the Victim of Vengeance! Her love of life and laughter led her to a most amazing doom! Thanks to IMDB & Wikipedia for much of this information.
Thank you, I've always had a soft spot for this film, I like the character played by Nova Pilbeam and following the adventure the story takes her on. It has a lot of charm and is a wonderful film to this day. I'm happy you enjoyed the quality and the notes, I realise they are not interesting to many viewers, so it's good to know you enjoyed them. Thank you for taking the time to comment and I'm happy you enjoyed it, I should post more films like this, with a lighter heart.
Thank you, I remember you commenting about the lack of logos before, I don't like them either. I made quite a few experiments editing this one, so I'm happy you enjoyed it, and thank you for taking the time to comment, I appreciate it.
Interesting Late Film Noir and intriguing to see the Ethnic make up of these Gangsters and Mafia families. Also, did Quinn ever play a man who wasnt Obsessive about the women in his life..? Ive read he was just as Controlling and Philandering to his own wife, Katharine DeMille and his serial affairs.
I never have been a Palance fan but I'm obviously in the minority. Joan Crawford is just absolutely awesome in EVERYTHING! lol No matter how many times I see this one it never loses it's suspense...
Outstanding movie! Another favorite, I think Casablanca and The Postman Always Rings Twice are the only two I've seen more times than this one. Thx Isabella!
@isabellamars Yes, when it's Fritz Lang you always know it's a good one. The trio in this one and others play well together. This one gets better each time I see it-Thx for another one!
Richard Egan may have been the protagonist in the film and I would propose it is likely bourbon was the antagonist. However, as far as I am concerned, the main attraction was the relaxing tones of Julie London singing during the opening credits. Her voice not only created an appropriate atmosphere but the song’s lyrics described accurately the two competing loves of Richard’s character. For the latter reason, thank you for finding this film.
Thank you, it was good to find one that included Julie London's evocative voice. I think it still doesn't really count since her character did not sing the song, but at least it's halfway there.
