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"I'm a sick woman!" - Barbara Stanwyck.

What a mixed bag. On the one hand you've got a great cast.

"I'm a sick woman!" - Barbara Stanwyck.

But they spend most of the movie stationary and spouting exposition (mostly in flashback) while even the camera gets so bored it starts to look around rooms for lack of any action going on.

"I'm a sick woman!" - Barbara Stanwyck.

And then again, a few moments of photographic intrigue sneak their way past the mountain of extraneous details: silhouettes sneaking across a desolate beach at night heading for a dilapidated shack from which strange signals eminate. Secret packages are ferried away by motorboat…

Not so much film noir as noir-adjacent. It starts off promisingly, with the shadows of Venetian blinds slanting across the walls, an invitation to intrigue, but quickly settles into more of a melodrama, centred around bed-ridden Leona Stevenson (Barbara Stanwyck) and her absent husband Henry (Burt Lancaster). Stevenson thought he'd lucked out catching the eye of a pharmaceutical tycoon's daughter but as time goes by, he becomes increasingly discontent with being a kept man and starts making moves of his own, unbeknown to his wife. Late one night, phoning his office to check up on his whereabouts, she's accidentally patched through to a conversation between two men and what sounds like a murder plot unfolding. Shaken by the call, she…

The June / July Classic Crime Project: 1930-1969

List idea - 'movies starring wendell corey where someone is confined to their apartment and suspects a murder'.

What's fascinating about Sorry, Wrong Number is that Barbara Stanwyck hasn't been laid up by a physical issue like LB Jeffries in Rear Window, but rather has been crippled by an increasing number of steadily worsening panic attacks.

They don't call them that specifically here, for some odd reason, but it was surprising that a film from this age seemed to approach the subject with a reasonable amount of sensitivity. It always helps when you have an actor of Stanwyck's quality through which to syphon the subject, of course, but no little credit should…

“Voces de muerte” es un film de cine negro de los años 40 dirigido por Anatole Litvak que adapta una obra radiofónica de Lucille Fletcher. Un guion de radio que fue considerado por el propio Orson Welles como “el mejor guion de radio jamás escrito”. La historia está cargada de tensión y consigue un ritmo que se va intensificando conforme avanza la narración. El protagonismo absoluto recae en su dúo protagonista: Barbara Stanwyck y Burt Lancaster. Especialmente sobre los hombros de una Stanwyck en estado de gracia que consiguió la nominación al Óscar a la mejor actriz protagonista gracias a su interpretación de Leona, una egoísta mujer adinerada e impedida físicamente, que pese a su fuerte carácter, se ha convertido…