Such a frustrating disappointment

Fantastic!

Don't listen to the negative reviews

The joyful confection is coated in a sparkly gloss, bright enough to gleam from the darkest, most cynical corners.

Producer Ross Hunter's imitation of his earlier hit "Imitation of Life" is predictably stylized--in Hunter's tacky way--but less predictably colorless and unhappy. Hunter may be the only producer from this era who could turn a modern-day story (circa 1960) such as "Portrait in Black" and make it all seem like 1940 again. Considering the apparent goal to have this be a socially relevant soap scandal, the producer's glossy approach is all wrong, and the movie arrives wrapped in mothballs. Based on a flop Broadway play, this story about a waterfront czar who is bumped off by his wife and her doctor-lover is awfully grim (and, by the weak finale, fairly ridiculous). Blackmail-laced plot is given amusingly pulpy treatment, filmed in handsome color with lots of shadows, but it's a screenplay right off the assembly line. Melodrama buffs may not care, for star Lana Turner does all the requisite suffering and fidgeting prone to one-dimensional 'woman's pictures' such as this. *1/2 from ****

Lana Turner, who's married to invalid Lloyd Nolan, has fallen for his doctor Anthony Quinn in one of Lana's most underrated films. This has to be one of the best examples of the melodrama genre, with Lana looking great as usual. I love it when movies know how to fill the cast with recognizable names, giving each role a chance to stand out: Anthony Quinn, Richard Basehart, Lloyd Nolan, Sandra Dee, John Saxon, Ray Walston, silent-screen star Anna May Wong, and Virginia Grey, who was an almost constant presence in Lana's later films. How you can go wrong? Granted, it may be campy or cheesy in some places, with loopholes to boot. But it wouldn't be melodrama without them. And, watching Anthony be driven out of his mind, is priceless. Only a great actor as him could overact so well. And, Sandra Dee comes off surprisingly well in her role, as the stepdaughter skeptic of her stepmother, who goes shopping, but comes back with no packages. If you're yearning for a good old-fashioned movie, the kind they just don't make anymore, this is for you. It's out on DVD, with Madame X. (That's another review.) Knock yourself out! Also, with Lana and John Saxon together in San Francisco, it feels like early Falcon Crest all over again. You gotta love it.

Ms. Turner, enjoying a career renaissance kicked off by the combination of her Oscar-nominated role in "Peyton Place," the Stompanato murder case and the extraordinary success of "Imitation of Life," reteamed with producer Ross Hunter here as another well-to-do beauty suffering great duress. She plays the wife of cantankerous Nolan (who was the noble doctor in "Peyton Place"), a successful shipping magnate confined to a mechanical bed. His inherent bitterness leads him to lash out at Turner, who turns to his handsome doctor Quinn for comfort. When it becomes clear that they can never truly be together as a couple, they decide to relieve Nolan of his pain for good, but soon after they begin to get letters that hint of blackmail. Before long, they are faced with the prospect of committing a second murder in order to protect their secret. Meanwhile, shifty Basehart is running the company and eyeing Turner and Nolan's daughter Dee (who was Turner's daughter in "Imitation of Life") is carrying on with low-rung tugboat owner Saxon. Also, sneaky chauffeur Walston and vaguely threatening housekeeper Wong lurk around every other corner. Turner looks terrific throughout most of the film, being saddled with a couple of ugly hats here and there (and :::gasp::: wearing one outfit twice!), but generally looking fantastic. She was perfect at these types of glossy, over-the-top melodramas and this is among the best. The story (riddled with contrivance and preposterousness) reaches a fever pitch several times and overwrought Lana is right there to help serve it up at its best. Quinn seems a tad out of place, but it's nice to see him in a film from this period that didn't have him playing an Indian, a slave, a fisherman or some other type of earthy character. Basehart is remarkably slimy, Dee a bit more mature than she had been in previous films, yet still unable to shake off her squeaky-clean image and Saxon gritting his teeth in outrage when he isn't trying to canoodle with Dee. Walston gives an appropriately mysterious performance while silent film legend Wong is mostly relegated to stern stares and curt comments. Grey has a supporting role as Nolan's beleaguered secretary, while fairly grating child actor Kohler plays Turner's inquisitive son. Based on a short-running Broadway play from the 40's, but slathered over with the customary Hunter lavishness, this slightly overlong film is a glimmering camp hoot today. As if the overheated acting, silly script and glitzy décor weren't enough, there is a deliriously insane Frank Skinner score punctuating every "nuance" of the plot. At least there is some very creative, for the time, lighting and camera-work in evidence, giving the picture a nourish feel at times (which is quite an accomplishment considering all the gloss in view.) Highlights of the film include: Turner running open-armed to Quinn in his apartment, Turner, decked out in a purposefully drab gown, watching Quinn enter the house to kill Nolan, Turner running around the house and up and down stairs in her snug skirt, turning off lights and panicking and, most especially, Turner confessing that she can't drive and then being forced to operate an unfamiliar car on the Pacific Coast Highway during a hysterical rainstorm! Yes, it's basically her show all the way right up to the closing frames.

The plot outline of PORTRAIT OF BLACK makes it sound like it would have been a great '40s melodrama for someone like Barbara Stanwyck, who might have given it the grittier touch it needs to succeed as a suspenseful piece about blackmail and murder. But Ross Hunter has given it a luxurious look, filling it with lavish sets and some stunning costumes for LANA TURNER to wear as she and ANTHONY QUINN conspire to kill her obnoxious husband LLOYD NOLAN.The cast too is full of glamorous Hollywood names--SANDRA DEE, JOHN SAXON, RICHARD BASEHART, VIRGINIA GREY, RAY WALSTON and ANNA MAY WONG. No expense has been spared to give the story whatever production values Hunter could throw at it, including a score by Frank Skinner (who did the music for Turner's MADAME X). But nothing hides the fact that it's just a routine tale of a plan to commit the perfect murder that backfires in time for the sort of ending Hollywood demanded for its killers, even if they were stars of Turner's caliber.Lana did better work earlier in her career than she does here, but she looks gorgeous and SANDRA DEE (as her step-daughter) gets to wear some nifty outfits too. It's eye candy for Turner fans, but if it's solid entertainment you're looking for, this is only passable. Even ANTHONY QUINN looks a bit uncomfortable in his underwritten role.