You won't be disappointed!

I don't have all the words right now but this film is a work of art.

It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

This is a dark and sometimes deeply uncomfortable drama

The world of the legitimate theatre has always fascinated Hollywood. Whether proceeding from envy or malice or simply the honest desire to take a swipe at the opposition, there can be no doubt that the Holly¬wood view of the theatre is much more satiric, caustic, trenchant - even jaundiced - than Hollywood's view of Hollywood. A Double Life is a typically outstanding entry in this genre. With the aid of superb photography and classy production values (including a meticulous attention to detail), the excitement, atmosphere and grease-paint flavor of back-stage are vividly conveyed.The cast is absolutely marvelous. In the central role, Colman gives an outstandingly sympathetic, utterly believable, overwhelmingly charming performance. It was undoubtedly the most difficult role of his career. To fully describe its range and subtlety would be to give away some of the tension in the ingeniously suspenseful plot - for those who have not yet sweated on the edge of their seats. It is enough to say that Colman paints his richest, most sublime portrait. His Academy of Motion Picture Arts and Sciences Award was not only thoroughly justified, but it serves as a vindication of the perspicacity and impartiality of the Academy of Motion Picture Arts and Sciences's voters. Colman's brilliance is all the more impressive when it is remembered that Cukor's reputation is wholly as a director of women. (In fact Gable had him fired from Gone With The Wind precisely because of this reputation).The supporting players are uniformly excellent, though Shelley Winters and Edmond O'Brien must be singled out for special commendation. Millard Mitchell also contributes a memorable study, and Betsy Blair is allowed to shine in her brief scene. Often forgotten are the players in the plays themselves, ranging from the delightfully escapist Gentleman's Gentleman to the melodically moody Othello - but we hereby praise their efforts too! Technically, A Double Life is a magnificent tour-de-force: Krasner's film noir lighting, Parrish's sharp editing, Harry Horner's appro¬priately seedy sets and Rozsa's schizoid music are mesmerically integrated and controlled by director George Cukor.Peopled with a fascinating gallery of colorful characters, etched against a masterfully observed background, caught up in an enthrallingly bizarre plot, A Double Life is one of the cinema's most gripping entertainments.

Anthony John is an actor whose life is strongly influenced by the characters he plays. When he's playing comedy, he's the most enjoyable person in the world, but when he's playing drama, it's terrible to be around him. That's the reason why his wife Brita divorced him; although she still loves him and works with him, she couldn't stand living with him anymore.As far as noir goes, I don't think this one is very well known. You would think that with George Cukor directing, it would have some sort of resonance, but apparently only in the right circles. Ronald Colman, somehow, never seems to have been as big of an actor as he obviously should have been. He's not one of those household names.At least the DVD comes with an intro by Martin Scorsese to give the film its proper respect, but this is one of those titles that would benefit from a deluxe edition if you were able to find a scholar to talk about it.

I saw "A Double Life" half a dozen times or so during its first run, as an usher at the old Rio Theater in Appleton, Wisconsin. I just happened to think of it tonight, even including the title, for the first time in years.A distinct memory: A "typical" police-beat reporter presses the detective to say "Kiss of Death"; he finally agrees: "Okay, kiss of death," and all the reporters run for the payphones.I think this was the first time I ever saw Ronald Coleman in a movie, although I was familiar with him and his wife Benita as Jack Benny's neighbors, heard occasionally on Benny's radio show.

Perhaps the only film which could be called a "Shakespearean Noir." It features extended scenes from Othello, a play within the film, and maybe if I knew that story a bit better I would have enjoyed the film more. The movie does have a great look to it and a great conclusion so the literary among you will enjoy it. The film was nominated for four Oscars and won two including Best Actor for Ronald Colman, so the powers that be obviously didn't consider it to be just a typical grimy B film when it was released like most films we now label as noirs. It does include a scene with the typical gang of 5 detectives from the homicide squad. You know the ones, always full of colorful characters telling jokes. Loudly saying insensitive things like, "Looks like we got a very routine knock off here." as they enter a sensitive crime scene surrounded by locals who probably knew the deceased.