Ann Sheridan

Kent Smith

Bruce Bennett

Robert Alda

Rosemary DeCamp

John Ridgely

Robert Arthur

Wanda Hendrix

Helen Brown

Rory Mallinson

Harry Shannon

James Flavin

Douglas Kennedy

Don McGuire

Clifton Young

Gino Corrado

Bess Flowers

John Newland

Joe Gilbert

James Wong Howe

Vincent Sherman

Anton Grot

Travilla

Perc Westmore

Walter F. Tilford

Harry Barndollar

William Jacobs

Jack L. Warner

James McMahon

Edwin B. DuPar

Jack Sobell

Owen Marks

Charles Lang

Paul Webster

Franz Waxman

N. Richard Nash

Drama

Nora Prentiss

Warner Bros. Pictures

United States of America

English

Steve

Dr. Richard Talbot is bored with his hum drum life. His life has become routine. He shows up for work at the same time every day then heads home at six o'clock to a passionless wife and two kids. His life is forever changed when he treats a sexy night club singer after hours at his downtown office. First becoming friends, the couple quickly start an affair which eventually leads the previously up-tight Talbot to fake his own death and run off with the woman. Every move Talbot (played by Kent Smith who almost tops his performance is the noir/horror classic Cat People) makes following his decision to run off with Nora just gets him in more trouble. Ann Sheridan playing Nora isn't a femme fatale like you'd expect. Turns out she's the level headed one who tries to stop Talbot from acting like such a chump. Unfortunately, he doesn't listen to her and becomes a mess eventually attacking romantic rival Robert Alda in a drunken rage then leading cops on a high speed chase that ends badly.



According to Film Noir: An Encyclopedic Reference to the American Style, Nora Prentiss is the ultimate “woman's noir”. Other films of this type – such as Joan Crawford's Flamingo Road and The Damned Don't Cry (also directed by Vincent Sherman) quickly become sappy melodramas while Nora Prentiss avoids this thanks to excellent performances from Smith, Sheridan, and a bunch of Warner Bros. regulars – including Bruce Bennett (Dark Passage, Mystery Street), Alda (The Man I Love), John Ridgely (The Big Sleep) and a young Wanda Hendrix (Ride the Pink Horse).

The film is shot in an expressionistic style by cinematographer James Wong Howe. Two parts of the film really show how "closed in" Talbot is. First is right at the beginning of the film when a scarred man is taken back to San Francisco on charges of murder. Second is later in the film when Talbot decides to coop himself up in a New York hotel room paranoid that someone from his former life will recognize him. Wong creates a very dank and claustrophobic atmosphere especially the jail scenes showing heavy shadows over the prisoner.



Director Sherman knocked out a bunch of films for Warner Bros. (his noir films include Backfire, The Unfaithful also with Sheridan, The Affair in Trinidad and The Garment Jungle) but I think this one stands out as one of his best. Not to be forgotten is the excellent film score by Franz Waxman and the very sharp dialog that showcases Sheridan's ability to crack wise.

Although Sheridan is the star, Smith steals the film. He transforms Dr. Talbot from a guy who always looks like his collars are too tight, to a paranoid drunk and then finally to a broken man who gives up on life.

Also notice the movie poster. The style of the poster is very similar to a similar Warner Bros. film, the great Mildred Pierce released two years earlier.




Written by Steve-O

The Man Who Died Twice.

Nora Prentiss is directed by Vincent Sherman and collectively written by N. Richard Nash, Paul Webster and Jack Sobell. It stars Kent Smith, Ann Sheridan, Bruce Bennett, Robert Alda and Rosemary DeCamp. Music is by Franz Waxman and cinematography by James Wong Howe.

Dr. Richard Talbot (Smith) is fed up of his dull family life. So when pretty nightclub singer Nora Prentiss (Sheridan) calls on him for treatment to a minor injury – his head – and his life – is turned drastically.
What did he do? What was he hiding?

One of film noir’s devilish delights is that of a filmic entry that finds a protagonist in a fantastical situation. Think of Dark Passage where Bogart has plastic surgery to alter his looks, or The Big Clock which sees Milland investigating himself for a crime! The suitcase/cannister plot devices of Kiss Me Deadly and City of Fear, the identity swap madness of Hollow Triumph, and on it goes, the more bonkers the plot scenario is in noir, the more fun the enjoyment can be. And so enter Nora Prentiss, often tagged a woman’s melodrama, it’s most assuredly a crafty piece of noirville that hinges on a quite superb and fantastical twist of fate come the final stretch. `Sure there’s melodrama and some romantic delirium, but this is not cosy stuff, the pay offs beat a true pin cushioned heart.

The title may be Nora Prentiss, but she’s not the key character, Doctor Talbot is, so really it’s a name grab title to aid Sheridan in her efforts to break out of a lull (47 also saw her make The Unfaithful - also under the watchful gaze of Sherman). The story trajectory actually isn’t what you would perceive as true film noir on plot terms, in that Nora isn’t a femme fatale. In fact we are on her side, she’s not malicious or shredding Talbot’s life by choice, she is actually the one being messed around by the doofus doctor. Talbot is inconsiderate of his actions to how they affect those he so readily leaves behind (wife and two kids), and he lacks a spine to at least do the right thing as he plots a new life with the sultry Nora. And thus he makes a decision – when an opportunity arises in his medical office – that’s brilliant in how it shifts the course of the picture into far darker territories.

Tech credits are high end, there’s absolutely nothing wrong in the wily Sherman’s direction, where although I can’t personally say all his noir ventures are successful, he handles the tonal shifts smartly here whilst getting top perfs from his leads. Sheridan and Smith are done proud by the writers, they get interesting characters to play who are caught in a web of passion, unfulfillments, paranoia and a stonker of a lie. While as ace composer Waxman drifts tonal harmonies over proceedings, Sheridan even gets to warble a couple of very pleasing tunes. Yet all play second fiddle – not for the first time for many others – to Wong Howe’s photography. A master of low-key compositions, he blends the expressionist feels with claustrophobic visual tightness. Witness the scenes in the hotel room that Nora and Richard share, a sequence post an operation that’s filmed in clinical shadowed low lights, and the metaphorically potent scene of Nora and Richard talking through a prison grille.

A hit at the box office, the realignment of Sheridan’s career in place, Nora Prentiss has many reasons for being sought out for viewing pleasures. More so if you like to tread the dark and sometimes nutty sidewalks of noirville. 8/10

Nora Prentiss

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