The Locket
| The Locket | |
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Theatrical release poster
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| Directed by | John Brahm |
| Produced by | Bert Granet |
| Written by | Sheridan Gibney |
| Starring |
Laraine Day Brian Aherne Robert Mitchum Gene Raymond |
| Music by | Roy Webb |
| Cinematography | Nicholas Musuraca |
| Edited by | J.R. Whittredge |
| Distributed by | RKO Pictures |
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Release date
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Running time
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85 minutes |
| Country | United States |
| Language | English |
| Box office | $1,750,000 (US) |
The Locket is a 1946 film noir directed by John Brahm, starring Laraine Day, Brian Aherne, Robert Mitchum, and Gene Raymond, and released by RKO Pictures. The film is based on a screenplay by Sheridan Gibney, adapted from "What Nancy Wanted" by Norma Barzman, wife of later-blacklisted writer Ben Barzman. It is noted for its complex use of layered flashbacks (flashbacks within flashbacks) to give psychological depth to the narrative.
A story told in a number of flashbacks from different points of view, this psychological drama tells the story of a bride-to-be (Day) who, as a child, was falsely accused of theft. She grows up to become a kleptomaniac, inveterate liar, and eventually a murderess.
Apparently, all her misdeeds are an attempt by the woman to get her revenge on the world that has falsely accused her of stealing as a child by ruining people's lives. After splitting up with an artist (Mitchum), and her psychiatrist husband (Aherne), she becomes engaged to the son (Raymond) of the woman who had accused her of thievery. Back in the present day, at her wedding, the young woman collapses physically and mentally as she walks to the altar.
When the film was released the staff at Variety magazine praised the film, writing, "Story carries the flashback technique to greater lengths than generally employed. The writing by Sheridan Gibney displays an understanding of the subject matter and proves a solid basis for the able performances achieved by John Brahm’s direction. Latter gears his scenes for full interest and carefully carries forward the doubt – and audience hope – that Nancy is not the villainess."
Film historians Alain Silver and Elizabeth Ward praise the unusual melodrama in the RKO visual style. "It is distinctive in its flashbacks within flashbacks, with the story often being told by a third or fourth person removed. This device is handled effectively in preparation for the climactic flashback, which reveals the truth."
Film critic Dennis Schwartz gave the film a mixed review, writing, "A psychological drama about a woman with a dark secret from her childhood that is carried over to her adult life. It's a post-war baroque melodrama, creaky as wooden steps in a mildewed house ... It was too wooden a presentation to generate anything but a few sparks ... It's a somber story, with a lot of heavy-handed things going on. The complexities of the heroine's character were well presented. The analyst's comments about her stealing to get even with Mrs. Willis seemed to be a reasonable explanation, if taken at face value ... The Locket only had some glitter but not enough substance. Though, as muddled as it was, it still kept me alert wanting to know what gives. The problem is I never satisfactorily found out what gives."
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Wikipedia