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Lizabeth Scott: Strange Love
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Harley Street plastic surgeon Philip Ritter (Paul Henreid) falls in love with concert pianist Alice Brent (Lizabeth Scott), but she is already engaged to David (Andre Morell), her manager. After a successful tour she returns to him, freed from her ex-finance. During the intervening time a distraught Philip had set about remodelling the face of a patient, a criminal psychopath (Mary Mackenzie), into an exact replica of the features of his beloved and married her. However, he fails to improve her character as well and finds her a real menace to his future happiness when his old flame unexpectedly returns to him. It takes the death of his wife in an accidental fall from a train to bring the lovers back together again.
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Brilliant plastic surgeon Philip Ritter (Paul Henreid) loses the love of his life, concert pianist Alice Brent (Lizabeth Scott), to her manager, David (Andre Morell). As a balm to his wounded pride, Dr. Ritter Henreid makes over a hideously scarred female criminal into the spitting image of the woman who jilted him (the girl is played by Mary McKenzie "before," and, of course, by Lizabeth Scott "after"). Alas, he cannot make over her personality as well, and soon she's run off with her own crooked crowd. A not-bad precursor to Hitchcock's Vertigo, A Stolen Face was produced by Britain's Hammer Films, and distributed in the U.S. by Lippert. ~ Hal Erickson, All Movie Guide
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Scott`s smoky sensuality and husky-voice lent itself to the film noir genre and, beginning with The Strange Love of Martha Ivers (1946) starring Barbara Stanwyck and Van Heflin, the studio cast her in a series of thrillers. The dark blonde actress was initially compared to Bacall because of a slight resemblance and a similar voice, even more so after she starred with Bacall`s husband, Humphrey Bogart, in the 1947 noir thriller Dead Reckoning.
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Paramount publicity dubbed Scott "The Threat," in order to create an onscreen persona for her similar to Lauren Bacall or Veronica Lake. Scott's smoky sensuality and husky-voice lent itself to the film noir genre and, beginning with The Strange Love of Martha Ivers (1946) starring Barbara Stanwyck and Van Heflin, the studio cast her in a series of noir thrillers. Film historian Eddie Mueller has noted that no other actress has appeared in so many noir movies, with more than three quarters of her twenty films qualifying [1].
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Joan Crawford plays a carny dancer who comes to a small town and falls in love with aw-shucks deputy Zachary Scott, who wears a preposterous hat and is more wholesome than the collective insides of an apple pie truck. Scott is an actor who looks like something you might get if you threw Joel McCrea and Tony Curtis into a blender, punched in both eyes while playing lacrosse with the cheekbones, and forced the ectoplasmic concoction to drink about a half gallon of bourbon in one sitting -- in other words, the perfect rolled over hicktown look.
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Strange Love