Im Solde des Satans (1950)

Im Solde des Satans: Directed by Vincent Sherman. With Joan Crawford, David Brian, Steve Cochran, Kent Smith. A New York socialite climbs the ladder of success man by man until a life among rich gangsters gives her what she thought she always wanted.

“u0026#39;The Damned Donu0026#39;t Cryu0026#39; is an obvious attempt to capitalize on Joan Crawfordu0026#39;s success with u0026#39;Mildred Pierceu0026#39; (also made with Warner Bros.) Both films are melodrama tinged with noir, although I would certainly hesitate to classify u0026#39;Damned…u0026#39; as a noir. It has a few of the noir trademarks, but is not executed particularly well enough to be considered as a true film noir.u003cbr/u003eu003cbr/u003eLike u0026#39;Mildred Pierceu0026#39; it begins with a murder, and is then told via Joanu0026#39;s (her characteru0026#39;s name – donu0026#39;t laugh – is Ethel)flashback. Weu0026#39;re then treated to some vintage down home Joan, again like her character in u0026#39;Mildred Pierceu0026#39; she is a struggling mother trying to please her child. Instead of tryng to buy a dress for Veda, in u0026#39;The Damned Donu0026#39;t Cryu0026#39; she is trying to purchase a bike for her pathetic son. u003cbr/u003eu003cbr/u003eThe morality of the 50s is in full effect here, again like u0026#39;Mildred Pierceu0026#39;. In the latter film, when the woman leaves the family home and has desires for a professional life, chaos and misery begins. The same is true for u0026#39;The Damned…u0026#39;. Ethel wants a life better than her near-poverty existence, having to leave her husband and child. Therefore, she must be punished in the eyes of the narrative. Ethel then gets mixed up in some gangster situations. Thereu0026#39;s one amusing scene where in a restaurant her date (a poor accountant) orders u0026#39;a chicken salad and a coffeeu0026#39; and Joan nearly has a seizure. The mise en scene changes when Ethel is involved with the criminal activities: a gothic mansion is used and the lighting begins to contrast between light and dark. But, again, not really enough to make a convincing case for this being a noir.u003cbr/u003eu003cbr/u003eJoan gives a good performance as Ethel/Lorna. Certainly not one of her best, but she is particularly good in the final scenes. If you enjoyed u0026#39;Mildred Pierceu0026#39; or u0026#39;Flamingo Roadu0026#39;, this is one to watch.”