Best movie ever!

Good films always raise compelling questions, whether the format is fiction or documentary fact.

A movie that not only functions as a solid scarefest but a razor-sharp satire.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

. . . then A WOMAN'S FACE argues that a woman is "made" by her face. When orphaned, Anna Holm's face is badly scarred by burns. The grown-up Anna is a heartless Sociopathic racketeer. As soon as a pioneering plastic surgeon slaps Joan Crawford's looks on BOTH sides of Anna's visage, she quickly transforms into super-governess Ingrid Paulson, gun-wielding protector of endangered young boys. This is one of Crawford's better film efforts. You can almost swear that you are watching Ingrid Bergman from time to time (not so shocking, when you know this is a remake of a Bergman picture which Crawford no doubt viewed before reprising Ingrid's role). The plot of A WOMAN'S FACE has about as many twists as that of THE MALTESE FALCON, and tough Scandanavian bad girl-turned-Crimefighter Anna seems somewhat of a beta version for THE GIRL WITH THE DRAGON TATTOO. There are no "chestnuts roasting on an open fire" during her climactic Christmas-time sleigh ride: she opens fire more like Annie Oakley. The earlier cable car scene is something Hitchcock should have envied. Telling this story in courtroom flashbacks totally works like source material for ROSHOMON, as Anna feeds her face with just desserts.

Released in 1941 - In the fine tradition of a classic, Hollywood, glamor film, this Joan Crawford vehicle from MGM delivers a fairly entertaining bit of melodrama that builds quite nicely into its high-speed climax (on horse-driven sleighs, no less).Joan Crawford plays Anna Holm, a conniving member of a ruthless blackmailing ring who are operating very successfully within the fair city of Stockholm, Sweden.Featuring some very good make-up effects, Anna, whose face (on its right side) has been badly disfigured by a burning accident many years ago, has her own ax to grind as she cold-heartedly dishes out a very special brand of criminal treachery.With its story told mainly through flashbacks, Anna is accused of cold-blooded murder and witnesses to Anna's activities are individually called into the courtroom in order to give testimony that points decidedly against Anna's innocence to this crime.As our story gets underway, Anna meets, by chance, a skilled plastic surgeon who offers his surgical expertise in order to help repair her badly-scarred face. Seeing this as her hope for starting a new life, Anna agrees to undergo cosmetic surgery, but with her new transformation she finds that the ties to her dark past are so much stronger than she had realized.Filmed in glossy b&w, A Woman's Face was competently directed by George Cukor whose other notable films from the 1940s and 50s include Gaslight, Adam's Rib, The Philadelphia Story, and A Star Is Born.

Marjorie Main was quite a gal in her day. She really had the ability to move freely from comedy to tragedy. This film is no exception.The only thing questionable here is that the plot is extremely overdone. A disfigured woman has a road house where she and the others rip off people. She breaks into the home of a surgeon whose wife has been totally unfaithful to him. She also meets up with Conrad Veidt who wants his uncle's 4 year old grandson dead so that he can inherit the old man's money.This goes on and on, but Joan Crawford, as the maimed woman, pulls it off in typical Crawford fashion.The film was a remake of a movie made by Ingrid Bergman in Sweden 3 years before. The Crawford version takes place there as well.With a Hitchcock like middle and ending, the film is definitely worthwhile to view.Note the presence of Albert Basserman and Conrad Veidt in the film. They were both forced out of Nazi Germany as was the case with many other European stars during this period.

An exciting cast, an excellent story, excellent acting. Joan Crawford is perfect as a malevolent blackmailer who has a change of heart after her facial disfigurement is repaired.The story progresses in an interesting way, with the plot unfolding during a murder trial. Each witness builds the story line, and the script has many unexpected plot twists, making this film anything but predictable.This film is a good example of how skillful film makers create special effects without high-tech gadgetry. It's wonderful that we have films like this to show us what real movie-making is like.