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Weird Woman

Weird Woman is a 1944 noir-mystery horror film, and the second installment in The Inner Sanctum Mysteries anthological film series, which was based on the popular radio series of the same name. Directed by Reginald Le Borg and starring Lon Chaney Jr., Anne Gwynne, and Evelyn Ankers.[1][2] The movie is one of several films based on the novel Conjure Wife by Fritz Leiber. Co-star Evelyn Ankers had previously worked with Chaney in Ghost of Frankenstein, where Chaney played the Frankenstein monster, and The Wolf Man, where Chaney played the title role.

Weird Woman
Theatrical poster
Directed byReginald Le Borg
Screenplay byBrenda Weisberg
Story byW. Scott Darling
Based onConjure Wife
by Fritz Leiber
Produced by
Starring
CinematographyVirgil Miller
Edited byMilton Carruth
Music byPaul Sawtell
Production
company
Universal Pictures
Distributed byUniversal Pictures
Release date
  • March 1, 1944 (1944-03-01) (United States)
Running time
63 minutes
CountryUnited States
LanguageEnglish

Plot

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Professor Norman Reed falls in love with and marries a woman named Paula while on vacation in the South Seas. When they return to his hometown, she is greeted coolly by much of the community, especially Ilona, who felt that Reed was hers. Strange things begin to happen, including the death of a colleague, which turns people against her even more, especially as she believes in voodoo and other supernatural phenomena. Reed must work hard to prove her innocence and find the real culprit behind the strange doings.[3][4]

Cast

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Cast notes

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Evelyn Ankers: Ankers recalled shortly before her death in 1985, that she was uncomfortable with the role of sinister Liona for both professional and personal reasons. Ankers, a strikingly attractive blonde, was customarily cast in “good-girl” ingénue roles in many of her program pictures. Disappointed in her own performance, she felt she was miscast. When LeBorg would say "action" and Ankers would try to exact a menacing look, she and co-star Anne Gwynne would almost inevitably start laughing. Universal never hired her to play a villain again.[6] In addition, she and Anne Gwynne, who plays her nemesis, Paula, were best friends off-screen, contradicting their on-screen personas.[7] Film historian Wheeler W. Dixon reports that Anker’s characterization of the scheming Liona was “entirely convincing” and commensurate with the “uniformly excellent” supporting cast.[8]

Lon Chaney, Jr.: Chaney, who audiences identified with Universal’s The Wolf Man and The Mummy's Ghost “is a trifle hard to accept as an intellectual” in a university Sociology department setting.[9] Film critic Ken Hanke writes: “[Q]uite the scariest thing about Weird Woman may be the idea of Chaney as a brilliant professor of anthropology. That’s also what makes it fun.”[10]

Production

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Director Reginald LeBorg recalls being given the script on a Friday and being told to begin shooting a week from Monday; the cast was filled out shortly before filming. This rushed production schedule was the norm at Universal.[11] The budget restraints placed by Universal on their “B” units were such that director LaBorg felt compelled to apply lighting techniques to obscure the “drab, pre-fab sets that he was obliged to use.”[12] Inner Sanctum films, as a rule, cost approximately $150,000 to produce, and shooting schedules were routinely 12 days.[13]

Reception

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New York Times reviewer “B. C.” dismissed Weird Woman as a “weird” production released “in a fit of desperation” by Universal Pictures. Offering a thumbnail sketch of the film narrative, the reviewer concludes: “Weird, isn't it? And, boy, is it dull!” [14]

Retrospective appraisal

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As in most of director LeBorg’s cinematic endeavors for Universal’s low-budget production unit, he “makes the most of the limited sets and day players he was forced to use by management.” Film historian Wheeler W. Dixon judges that, despite these limitations, “the film holds up extremely well.”[15]

Film critic Ken Hanke writes: “Overall, director Reginald LeBorg keeps Weird Woman pretty effective on the atmosphere front...This was only LeBorg’s third feature and you can tell that he was seriously trying to prove himself.”[16]

Notes

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  1. ^ Maddrey, Joseph (2012-02-15). Nightmares in Red, White and Blue: The Evolution of the American Horror Film. McFarland. ISBN 9780786482740.
  2. ^ Dixon, Wheeler W. (1998). The Transparency of Spectacle: Meditations on the Moving Image. SUNY Press. ISBN 9780791437810.
  3. ^ Rowan, Terry (2016-10-14). Hollywood Monsters & Creepy Things. Lulu.com. ISBN 9781365461972.
  4. ^ Dixon, 1992 p. 17: Plot synopsis
  5. ^ Senn, Bryan (1998). Drums of Terror: Voodoo in the Cinema. Midnight Marquee & BearManor Media.
  6. ^ Senn, Bryan (1998). Drums of Terror: Voodoo in the Cinema. Midnight Marquee & BearManor Media.
  7. ^ Dixon, 1992 p. 17
  8. ^ Dixon, 1992 p. 17
  9. ^ Dixon, 1992 p. 17
  10. ^ Hanke, 2011
  11. ^ Weaver, Tom; Brunas, John (2011-12-20). Universal Horrors: The Studio's Classic Films, 1931–1946, 2d ed. McFarland. ISBN 9780786491506.
  12. ^ Dixon, 1992 p. 18: “...the crushing burden of “B” picture economy is everywhere present…”
  13. ^ Dixon, 1992 p. 69: “...Inner Sanctum pictures were shot on a 12-day schedule, $150,000 each.”
  14. ^ "B.C." (April 1, 1944). "THE SCREEN; A Woman Scorned". New York Times. Retrieved August 1, 2024.
  15. ^ Dixon, 1992 p. 17
  16. ^ Hanke, 2011

References

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