Nora Prentiss (1947)

Nora Prentiss (1947). 1h 51m | Approved

“. . . Ann Sheridan, that is. And they didnu0026#39;t call her the u0026quot;Oomph Girlu0026quot; for nothing.u003cbr/u003eu003cbr/u003eSheu0026#39;s worldly (mostly underworld) straight- forward, knows the score, and completely direct. Whatu0026#39;s more, you believe and trust her . . . nothing underhanded here.u003cbr/u003eu003cbr/u003eAt one point she, as Nora Prentis says, u0026quot;I may not have been handled with care, but Iu0026#39;m not shop-worn.u0026quot; That about sums her up.u003cbr/u003eu003cbr/u003eThereu0026#39;s no other quite like Sheridan, and she can make a wisecrack in a flash, partly for levity and partly to hold off wolves. Furthermore, it works pretty much all the time.u003cbr/u003eu003cbr/u003eIn u0026quot;Nora Prentisu0026quot; Sheridanu0026#39;s perfectly cast as a nightclub singer who walks into an affair with a married man. Kent Smith is fine as her suitor. Vincent Shermanu0026#39;s the competent director, and James Wong Howeu0026#39;s the fine photographer.u003cbr/u003eu003cbr/u003eWeu0026#39;re treated to Annu0026#39;s beautiful contralto voice (in a lovely ballad, u0026quot;Who Cares What People Sayu0026quot;) and to the rest of Warner Bros. stock company, including Robert Alda.u003cbr/u003eu003cbr/u003eu0026quot;Nora Prentisu0026#39; u0026quot; characters work because theyu0026#39;re endowed with both strong and weak qualities. No oneu0026#39;s clearly victim or villain here, just quite ordinary people who get trapped in tragic circumstances.”