Corridor of Mirrors (1948)

It takes patience to try to get fully in this "Svengali" style story with a few unique twists. Artistically, it is a triumph, stunning to watch for the care that went into it, but somehow as flat as the painting of heroine Edana Romney in her period clothes. There are moments when a joyous spirit overtakes this melodrama, but it is often dour and maudlin.Romney may be a graceful beauty, but she lacks the charisma of other dark haired British beauties. Resembling Merle Oberon with a bit of Margaret Lockwood thrown in, she's equally flat in important emotional scenes that required under playing rather than the shouting she resorted to. However, the camera loves her, as evidenced in a sequence when brooding artist Eric Pittman whirls her around on a restaurant floor the moment he spits her. It takes forever for him to reveal to her why, although the audience pretty much knows. I could see this as an opera with its mixture of melodrama, mystery and potential tragedy. It is certainly a masterpiece of technology, showing how far advanced the British were if you look at some of their best films from the 1940's. At times, this seemed very modern, and the sets seem to shine in 3-D to the point of infinity. Something tells me that this takes repeat viewings to truly be appreciated, although I would undoubtedly look on at Romney in the same way.

Deep brooding melding of numerous ideas and themes including riffs from Hitchcock, Beauty and the Beast, Val Lewton, Lewis Carrol, and on and on. Its the very Gothic tale of a woman who meets a man who may have loved her in the past. A triumph of the filmmakers art the story left me cold. I suspect that watching the film well after midnight was a bad idea where its lush visual pleasures helped me to nod off. I know that the films insistence about being about something didn't help, I wanted a 1940's mystery, what I got was psychological drama. I'm going to have to watch this again down the road when its much earlier in the evening.(It is great to look at though)

A well-to-do wife and mother (Edana Romney) travels to Madame Tussaud's Wax Museum in London to rendezvous with an old flame (Eric Portman) executed ten years before as their strange, tragic romance unfolds in flashback.The director of DR. NO blends Hitchcock with Cocteau in this psychological pseudo-"period" melodrama with Gothic overtones that is equal parts REBECCA and VERTIGO as filtered through BEAUTY AND THE BEAST. Reincarnation (maybe), obsession, fetish, romance, madness and murder are interwoven in an opulently stylized, dream-like tale. The unusual plot involving a past affair with one of Mme. Tussaud's wax-work murderers is absorbing and holds the interest from the outset. There's a literal as well as symbolic "corridor of mirrors" and many small touches that make the story come alive. Eric Portman plays wealthy Paul Mangin, a man living in the past, who holds a strange fascination for an impressionable young girl and goes from frightening to vulnerable over the course of the film. Edana Romney (a British cross between Mexico's Maria Felix and Hollywood's Faith Domergue) plays Mifanwy Conway (love that name!) and brings this seemingly frivolous character to life as her situation becomes increasingly more disturbing. Their ill-fated union plays out in Mangin's Venetian-style mansion where time stands still and Mifanwy almost comes to believe they were once lovers in fifteenth-century Italy but when she starts using her head instead of her heart, tragedy follows. In a film with many visual images that will stay in the mind long after it's over, the high point comes during a Venetian costume ball and a satisfying denouement ties up every loose end save one -the lady's still a dead ringer for the Rensiassance temptress in a 400 year-old painting Mangin fell in love with during the war. The literary references scattered throughout include "Otello", "Wuthering Heights" and "Through The Looking Glass" while the lovers' first waltz foreshadows Vincente Minnelli's MADAME BOVARY made the following year. Christopher Lee and Lois Maxwell ("Miss Moneypenny" in director Young's James Bond films) have small roles.Unusual and hypnotic.

This is expert, expert film making, rich in atmosphere and mood, and easily as good as the best gothics and psychological 'horror' films of the forties such as Wuthering Heights, Rebecca, Jane Eyre, Seventh Veil, or the Val Lewton works. I don't think there was a single scene that did not hold my attention. I could not begin to enumerate all the little touches and flourishes of lighting, camera angle, dialog, story ideas, etc. but I particularly enjoyed the seamless interweaving of references to Lewis Carroll's Alice (when Edana Romney follows the white cat (white rabbit surrogate) through the labyrhinthine corridors of the mansion, or to Othello/Romeo and Juliet at the Venetian ball, or again to Cocteau's Beauty and the Beast. Some compare this film to to Cocteau (it's on the video box), with its ornate and detailed set, as well as its theme, but Corridor of Mirrors for all its fine acting, atmosphere, and mastery of technique is not genius. It is not poetically simple. But if you liked any of the films mentioned above, you will definitely enjoy watching dark, mysterious leading lady Edana Romney (who also co wrote the screenplay) search for the inner resources to free herself from the spell of an incredibly intense and psychologically compelling, but morbid, life.