A lot more amusing than I thought it would be.

It's entirely possible that sending the audience out feeling lousy was intentional

an ambitious but ultimately ineffective debut endeavor.

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Ivy is directed by Sam Wood and adapted to screenplay by Charles Bennett from the novel The Story of Ivy written by Marie Belloc Lowndes. It stars Joan Fontaine, Patric Knowles, Herbert Marshall, Richard Ney, Cedric Hardwicke and Lucile Watson. Music is by Daniele Amfitheatrof and cinematography by Russell Metty.Ivy Lexton (Fontaine) has a hunger to be wealthy, and setting her sights on well-to-do Miles Rushworth ( Marshall), Ivy plots a fiendish plan that spells trouble for her husband Jervis (Ney) and her lover Roger (Knowles).Well worth discovering, Ivy showcases the dark side of Fontaine's acting prowess for great entertainment rewards. The beautiful Madame Fontaine actually disowned the movie, and this after she stepped in to the role of Ivy Lexton after her sister Olivia de Havilland turned it down. Her lack of affection for the picture goes some way to explaining why it has remained largely forgotten, which is a shame because it's a high end gaslight noir propelled by a femme fatale of some considerable substance.The budget was high, and it shows, in the cast list, the costuming and the stunning turn of the century production design by William Cameron Menzies. Metty's low-key photography cloaks the Edwardian settings with atmospheric snugness, while Amfitheatrof underscores the drama with music that is appropriately tinged with chills. Thematically the piece is focusing on obsessions, by way of man's ignorant lust and woman's pursuit of wealth above all else. All characters are defined not by fate here, but by their actions, making for a hornet's nest of murder and adultery.1947 was a stellar year for film noir, with big hitting movies like Out of the Past, Nightmare Alley, Kiss of Death, Odd Man Out and Brighton Rock further cementing the growing popularity of noir as a style of film making. As is often the case with the great noir years from the classic cycle, there's still little gems hidden away waiting to be brought out into the open, Ivy is one such film. Fontaine and the sumptuous noir visual style ensure this to be the case. 8/10

Joan Fontaine is at the peak of her talent and beauty, when she starred in this outstanding Victorian era film noir. Fontaine plays the patrician, tremulous poisoner with a courteous, polite manner, and she adds the right amount of imbalance, that helps to make the sinister ambitions of Ivy, most convincing. The first scene is gripping and sets the mood perfectly, through-out the entire film. Ivy visits a fortune teller, and is very delighted when the woman predicts that "an abundance of money" and "another man" will soon come her way. When she encounters Miles Rushworth, ( Herbert Marshall ) that afternoon, it seems the predication has come. But first she must get rid of her sweet, but happy-go-lucky, layabout husband Jervis Lexton, ( Richard Ney ). Ivy also has an ex-lover, Roger Gretorex, ( Patric Knowles ) who can't get the alluring beauty out of his system. Ivy weaves her way through this duplicitous tangled web, but she has made some fatal mistakes along the way. Cedric Hardwicke plays the suspecting Inspector Orpington, who won't give up until he settles the mysterious case of death. I especially enjoyed the surprise ending for the wicked Ivy. Joan Fontaine is absolutely stunning in her Orry Kelly wardrobe and lovely wide-brimmed hats with tantalizing veils. The Victorian decor sets are extremely realistic, and the atmosphere perfectly presents the impending doom. All the actors give fine performances in this forgotten, extraordinary suspenseful film. It is gripping from beginning to end, and is good enough to stand with other classics of it's time. A thrilling movie that is well worth a look.

An excellent period murder melodrama, with Fontaine effectively playing against her earlier naive wallflower type, in a role that reportedly Olivia DeHavilland turned down. That's fine, because Fontaine is wonderful. Scripted by Charles Bennett, who had written for Hitchcock in the thirties and also later penned the excellent script for the classic British horror film Night of the Demon. The opening scene, where Ivy visits a sinister fortune teller played by the wonderful Una O'Connor (the screecher of James Whale fame), is a tour de force, and the film maintains interest throughout the numerous sinister machinations. I hope to see this film on DVD someday, but despair of that ever happening, because it seems to be an undeservedly obscure film. Fortunately I got to see it on AMC some seven or eight years ago, but have not seen since. Catch it if you can!

Miss Fontaine's spectacular gowns were by Travis Banton, not Orry-Kelly, as your credits indicate. A previous commenter mentions that Ivy takes place in the 20s or 30's! This film is most DEFINITELY set in Victorian London, long before the roaring twenties. In any case, this is a dazzling and fascinating film to watch. Fontaine gives a multifaceted performance, and is much better than her sister would have been in the role. Olivia would have given it her usual first ladyish, sexless, to-the-manner-born touch. Joan, however, lets you know that her hold on these men is highly sexual, although no part of her body below her neck is exposed, other than her hands. Hats off to Una O'Connor in her bit as the seer. She is truly eerie and terrifying.