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Fantastic!

A brilliant film that helped define a genre

The first must-see film of the year.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

Lana Turner is accused of murder when her lover, Ricardo Montalban, falls down a flight of stairs during a fight. The drama doesn't stop their because her attorney doesn't realized that he's actually her son! At another point, she also tries to fake her own death, if you didn't realize you were in one of producer Ross Hunter's lushly produced melodramas. What I found most interesting watching this film is comparing it to the Douglas Sirk directed Ross Hunter productions (i.e. "All that Heaven Allows," "Imitation fo Life," "There's Always Tomorrow," etc.), which gave me a much greater appreciation for what Sirk brought to his films. Sirks' films and "Madame X" are equally soapy of material, but Sirk's use of lighting, staging, and camera movement are so much better than what director David Lowell Rich does behind the camera here. Rich was primarily a TV director and the blandness of his direction is plainly on display with unoriginal montages, weak use of dramatic zooms, and most importantly a lack of any meaningful subtext. Sirks' film always had something to say, but "Madame X" seemed purely surface level. Overall, this is only worth watching for the lush production values and for the cast, which besides Turner and Montalban includes John Forsythe and Burgess Meredith.

As I read through all the reviews for this film, I was shocked by two things--that people thought it was a good film and that they thought it was a drama. Considering how over the top melodramatic it is, I really thought it was a comedy--albeit an unintentional one! The film starts with Holly (Lana Turner--who was too old for the part) marrying John--a very wealthy man who has ambitions to go into politics. At first, they are happy but after a while John's ambitions take him away from home--a lot. In the meantime, she spends time with another man (Ricardo Montalban) but their relationship is quite chaste. However, when he slips and falls down some stairs to his death, Holly's mother-in-law (Constance Bennett) blackmails her into running off and faking her death, as the mother-in-law THINKS Holly killed her lover! I have no idea why, but Holly agrees--and most of the rest of the film is spent watching Turner show a wide variety of pained looks--ones that look like she's dealing with a bad case of the cramps. All the while, you CONSTANTLY hear the most ridiculously overbearing and ridiculous music. In fact, clearly the music is the worst thing about the film. But you also can't ignore the last half hour--one of the most ridiculously sentimental and stupid half hours in film history (you've just gotta hear Keir Dullea's speech to believe it)! Overall, this is a glossy and beautiful looking bad movie...in a kitschy sort of way. I frankly found much of it laugh out loud funny because the film took itself so seriously but was so seriously bad in the process.By the way, the doctor's comments about absinthe, though believed at the time, are utter nonsense. In fact, the wine industry created all these rumors about absinthe causing brain abnormalities and death! In recent years, it's once again been legalized because it's a potent yet harmless liquor.

Lana Turner stars as Holly Parker, a shop clerk who marries a wealthy man (John Forsythe) with political goals. She loves him, but his long absences drive her into the arms of a slimy playboy (Ricardo Montalban) and her mother-in-law knows all about it.This was the third Ross Hunter-Lana Turner movie and like the others, it features a glamorous woman in a designer wardrobe who lives in a palatial estate, has her heart broken, it's all delivered with much sudsy melodrama. This film has even more to offer: The star allows herself to appear old and pathetically, even grotesquely ugly and gives a genuinely heart-tugging performance. The script is quite good with lots of dramatic twists and turns and an ending that left me sobbing.Lana Turner is good in the role of outsider-turned-socialite and Forsythe and Montalban are, too. Keir Dullea is well-cast as an attorney and Burgess Meredith excels as a loathsome criminal. The story is poignant and should ring true to all parents and children. Recommended.

If you've never seen this film, you need to. Even if melodramas or Lana Turner isn't your ideal night at the movies. If only to see that you can cry, because you will cry. If you see this movie and you're not in tears by the end, you need to check yourself in somewhere, 'cause, honey, you need help.To say anything about the plot wouldn't be fair. But, I will say that Lana was absolutely great, especially in pivotal scenes near the end. But what she goes through! And, talk about Utopia! It contains what I consider one of the most peaceful scenes I've ever seen, when she is resting and Christian is playing the piano. Such serenity!!The only reason I give this a 9 instead of a 10, is because of John Forsythe. Maybe the role didn't call for him to be very emotional, but he seemed kind of stiff throughout the movie, when I thought he should be more emotionally involved. Maybe, if they had cast that role better. And, while Keir Dullea seemed that way, also, his boyish appearance and effeminate (spelled correctly??) looks, with those baby blue eyes, made him look more emotional and/or vulnerable. Plus, he had some great scenes with Lana. But, Constance Bennett was great in her very memorable (and last) role.If I had any major problem with it, it's the very, very end, as Keir and John walk together. Their walk is so wooden. Maybe, they thought we'd be a basket case and not notice. But, it kind of bothers me, that they move like robots.But this is an experience not to be missed and should be watched by any lover of melodramas (or film for that matter), especially Lana fans. Keep your Kleenex handy! You'll need it, baby!