THE WOMAN IN THE HALL
UK, 1947, 93 minutes, Black-and-white.
Ursula Jeans, Jean Simmons, Cecil Parker, Joan Miller, Jill Raymond, Edward Underdown, Nigel Buchanan, Ruth Dunning.
Directed by Jack Lee.
The Woman in the Hall is an interesting melodrama from the immediate post—war period. In surprising casting, Ursula Jeans portrays a mother who seems to be initially sympathetic but who turns out to be an expert, con-woman, with a bad experience in her past, inventing stories about her past and marriage, going to visit wealthy people and spinning them stories which engage their sympathy as well as their willingness to give her money. She takes her elder daughter on these occasions – with the daughter having a greater moral sense and being embarrassed.
This continues till the girls grew up, the mother continuing her success, aided and abetted by her friend and maid.
When the younger daughter (Jean Simmons) graduates from school and wants to go out on her own for a job, the mother takes a stand, determining what she should do. However, the younger daughter is wilful – but becomes involved in stealing money, not thinking it immoral because she is spending the money on those in need. At the end, she is taken to court.
In the meantime, the mother has been found out in a society woman knowing the story invites the man whom she claims to have married to London. He falls in love with the older daughter.
Also in the meantime, the mother encounters a wealthy knight (Cecil Parker), ingratiates herself and he proposes. Things come to a head at the end, the daughter in prison, the older daughter and her fiance, the mother’s marriage – and the film ending leaving the audience to ponder what might happen, as the mother stands in the dock to give testimony about her daughter.
The film was directed by Jack Lee, a British veteran of such films as A Town like Alice, Robbery under Arms, The Wooden Horse.
1. An interesting British drama? Psychological drama? Confidence-woman? The 1940s?
2. The London settings, the homes, the visits to various clients, the school, restaurants? Workplaces? The police, the courts? The musical score?
3. The introduction, the title, Lorna waiting in the hall with her daughter, audience presuppositions that she was genuine? Lorna taking Molly, her spinning tales, the plea for money, the deferential attitudes, her success? The plausibility of her stories? Taking her daughter and her daughter’s response, the emotions, resentments? The younger daughter at home?
4. Lorna at home, the reliance on Suzanne, her love for Jay, Molly and her reactions? The issue of honesty? Lorna and her success, continuing with further visits and stories?
5. Lorna’s own story, her parents, not relating well, her life of jealousy, the consequences, the encounter with Neil, her claims, claims of marriage, the lies? Suzanne’s warnings?
6. The years passing, Suzanne still present, the issues of money? Lorna’s pride in her skills? Seeking out Shirley Denison? Shirley is shrewd, knowing Neil, the contacts, moving into action?
7. Jay, her graduation, success, Toby and his awkwardness, Lorna’s hopes, to pick a job, qualifications? Molly at home, the stances against her mother?
8. Lorna and Sir Halmar, meeting, the appeal, her plan and plea, differential, saying she had one daughter, who was an actress, Sir Halmar and his servants, his infatuation, the eventual proposal, accepting?
9. Lorna, the visit of Neil, his not exposing her, his attraction to Molly?
10. Jay, her work, responsibilities, promotions, the money, gifts, her being caught, the police, her confessing, her motivations?
11. The Law, the police, the courts, Lorna and her delaying, the wedding? The self-centredness above her love for her daughter?
12. The anonymous note to Sir Halmar, Suzanne and her success, going her own way and Lorna’s comment about anonymous letters?
13. Sir Halmar, going to visit Jay, their talk, his concern? His testimony? Promise to care for her?
14. Lorna, confronted by the situations, going to the dock and swearing to tell the truth? Would she?
