hwg1957-102-265704 James Harlan Corbin is an artist with a troubled temperament. Unfortunately several models whom he has painted have been murdered. Has he done them in or is there another explanation and what is the significance of the painting called 'The Madonna's Secret? The actual significance is that it gives the ending away early if one thinks about it. This is a fair mystery story but no more. There are noirish elements but on the whole it is more a melodrama.Frances Lederer is suitably tortured as Corbin and John Litel his usual reliable self as the police lieutenant. There is a fine trio of actresses in Gail Patrick, Ann Rutherford and Linda Stirling but their parts are underwritten. They deserved more meaty roles. The cinematography by John Alton is great, giving it a look that makes one surprised it is a Republic picture. It never rises above being a B picture though despite the fine photography and the fine cast.

Michael_Elliott The Madonna's Secret (1946) ** (out of 4) Artist James Corbin (Francis Lederer) has his latest model murdered and it strikes one man (Edward Ashley) strange that a previous model died the same way. The second victim's sister (Ann Rutherford) decides to go undercover as a model to try and prove that the artist is the murderer. THE MADONNA'S SECRET features some good performances and nice cinematography but that's about it as the story itself is rather tiresome and director Wilhelm Thiele just doesn't add too much suspense to the material. In fact, I'd say that the entire film has a very weak energy level that really keeps the viewer from getting too caught up in the material. The screenplay itself really doesn't have too much going for it as there are way too many long dialogue sequences that just go no where and end up hurting the film more than helping. As I said, the performances are actually pretty good and they help keep the film moving. Lederer was very believable as the troubled artist and I really liked how the actor could make you not trust him one second but then change your mind the next. Ashley makes for an entertaining good guy and Rutherford gets to shine in a role away from Andy Hardy. John Litel is good as the main cop on the case and Leona Roberts is also good as the artist's mother. I will admit that the final twist in the story is a good one and something that I didn't see coming.

secondtake The Madonna's Secret (1946)A psycho-mystery that broods and clunks along pretty well but too much a twist on a twist kind of movie. In fact, it's so obvious that the main character, a tortured artist, is suspected from the first minute, you know something else is up. What you don't suspect is what, and so by the end there is that final twist. I suppose this should or could have been a Vincent Price Gothic chiller, but in the hands of the leading man, Francis Lederer, it's a dark and serious affair. No camp allowed.This comes near the end of director William Thiele's B-movie career (followed by a slew of Lone Ranger t.v. episodes and then, a step sideways for 36 shows of Cavalcade of America, a staple of 1950s American middlebrow normalcy). So we might be glad the movie is as good as it is, and I think the main reason is ace cinematographer John Alton. There are subtle movements of the camera that make an ordinary conversation take on depth, at least in terms of mise-en-scene. And the truly dramatic lighting (including some obvious back projection stuff of Lederer speeding in a boat at night) is great just to watch. The series of women who pose and/or get themselves killed is curious--they do all look the same at a glance--and might have been more fun if extended a bit more. That is, they are all relatively cardboard characters, including the main character, who can't get out of his angst filled cliché, and so we can't really get involved emotionally in their fates. We just watch. And so thank you Mr. Alton for making that watching worth the ride. If you don't give a hoot about lights and camera, give this a by.

monsieurhulot Not sure if this strictly a noir film as it runs as a mystery as well. Some evidences of film noir would be the dramatic cinematography, a character that is somewhat of a Femme Fatale, a feeling of hopelessness in the current status quo, and of course, the criminal element that pervades most scenes. Against it being noir would be that this film is not about the average man, but a well to do artist. Also, the fate angle doesn't seem quite pronounced here. The acting is great throughout with special kudos for Francis Lederer and his creepy accent. The cinematography is uniformly superb. Of course, any film shot by John Alton is special. This is a rare film and currently only shown at film festivals. Hopefully it will show up on DVD someday.