Sharkflei Your blood may run cold, but you now find yourself pinioned to the story.

Mehdi Hoffman There's a more than satisfactory amount of boom-boom in the movie's trim running time.

Edwin The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

Wyatt There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

Mikel3 We viewed this movie last night through TCM on demand; I'd only seen parts of it in the past, not the whole film. I was impressed by Joan Crawford's skillful depiction of a highly intelligent woman whose face had been disfigured when she was as child. Her character seemed to be a genius in her knowledge and musical abilities. Because of her appearance she'd been shunned and unjustly treated; this forced her to hide half of her face from others. She spends most of her time in seclusion with a band of misfits and crooks. Her rejection by society turned her into a seemingly heartless blackmailer among other things. We could see that beneath her bitterness was a spark of something else, something good perhaps; her doctor played by Melvyn Douglas sees this too. Her doctor presents her with hope to restore her face using his skill, but will it work? It was an unusual role for Ms. Crawford IMO, at this stage in her career I'd figured she'd always want to look her most beautiful in roles. I couldn't imagine her appearing less than attractive even for part of a film; yet here she allowed her face to appear disfigured in some scenes. It was reminiscent for me of scenes that Gloria Grahame did years later in 'The Big Heat', another excellent film. The supporting cast in 'A Woman's Face' is good, especially Conrad Veidt as the evil man who has her in his power because he finds her attractive. For him she is willing to do anything...almost. The unthinkable crime he wants her to commit is the crux of the story, I won't reveal it here except to say at times we were on the edge of our seats wondering would she do it. Also of note in the supporting cast are Marjorie Main as a servant jealous of Joan and Albert Bassermann as a kindly grandfather. I highly recommend this film and give it a rating of 8 out of 10 stars.

lugonian A WOMAN'S FACE (Metro-Goldwyn-Mayer, 1941), directed by George Cukor, (not to be confused with Cukor's 1941 similar titled TWO-FACED WOMAN (MGM) featuring Greta Garbo), stars Joan Crawford in possibly her most superior role, and definitely her last great motion picture for her home studio of MGM. Not exactly an original premise considering how it's a Hollywood remake to the 1938 Swedish movie that starred Ingrid Bergman. This newest edition, from the play "Il Etait Une Fois" by Francis DeCrosisset, set in Sweden, might have acquired the natural services of Swedish born actresses as Bergman (reprizing her original screen role) or that of MGM's own Greta Garbo. According to legend, Crawford wanted this particular role at the risk her own career. The risk proved favorable, releasing Crawford from her formula material of the past to stronger/ challenging roles that were to follow. A WOMAN'S FACE didn't offer Crawford an Academy Award nomination for her fine work, but it did earn her admiration as a respected actress, an honor she worked long and hard to achieve by this point.The narrative opens at the Royal Swedish courthouse criminal division where Anna Holm (Joan Crawford) is being escorted down the corridor by a prison matron to face a murder trial. Witnesses including that of a waiter, Herman Hundvik (Donald Meek); Bernard Hundvik (Reginald Owen); Vera (Osa Massen), her husband, Doctor Gustav Segert (Melvyn Douglas); housekeeper, Emma Kristianstotter (Marjorie Main); Consul Magnus Barring (Albert Basserman), and housewife, Christina (Connie Gilchrist) are sworn in to answer questions and individually tell their testimonies to the judges (Henry Kolker, Robert Warwick, Gilbert Emery) before passing sentence. Told through a series of flashbacks, the story of Anna Holm is slowly revealed: Anna, hideously disfigured on the right side of her face in a fire at the age of five, wants nothing more than to become part of the human race. A prisoner of her own misfortune, her bitterness turns her to a life of crime. Owning a rural tavern with a team of assistants, Anna encounters Torsten Barring (Conrad Veidt) hosting a dinner party for his guests, consisting of Mrs. Vera Segert and her lover, Eric (Charles Quigley). Barring's charming manners finds Anna becoming fascinated in this scoundrel, enough to go against her policy by giving him credit for his patronage. Finding some revealing love letters belonging to Mrs. Segert has Anna coming to this rich woman's home attempting to blackmail her. As Vera's husband unexpectedly returns, Anna, in an attempt to escape, sprains her ankle. Being a noted plastic surgeon, and taking notice of her face, Segert, rather than notifying the police and having her arrested, he talks her into performing surgery on her face. The successful operation now has Anna walking out of the hospital, becoming part of the human race. Resuming her relationship with Barring, Anna becomes part of his diabolical plot in having a member of Barring's family murdered in order to collect an inheritance. He arranges her employment in the home of Magnus Barring as a governess to his little nephew, Lars-Erik (Richard Nichols). As for the surgeon, he starts to wonder if he created a Galatea or a Frankenstein monster.What makes this stylish production fascinating is how slowly it begins (courtroom proceedings, questioning and flashback recollections), building up to intense moments (bucket ride over the mountains) and race against time climax via sleigh ride, mostly done either with little or no music underscoring. What's even more fascinating is the manner of how Crawford silently uses her face to tell her story. Performing with little make-up and unfashionable hair-style in a realistic manner, her classic moments consist that of her outbursts at the sight of mirrors, and a lighted lamp shining directly onto her face by the laughing Mrs. Segert. Crawford's well constructed transformation during the second half presents the other side of her character, and how beauty is in the eyes of her beholder, the plastic surgeon (Douglas). Even little Richard Nichols flatters his new governess by telling her, "You couldn't be mean. You're too pretty." Crawford's "Weaving Dance" with the evil Veidt is another film highlight.Produced very much in European-style of dark lighting, super-imposing from one scene to another; low to mid-angle camera shots, Director Cukor refrains from having his players, especially the rowdy hill-billy type Marjorie Main, unrecognizable in pulled-back hair, glasses and flat hat, from speaking with Swedish accents. Also seen in minor support are George Zucco (Defense Attorney); Henry Daniell (The Public Prosecutor); Gwili Andre (Gusta); and William Farnum (The Court Attendant).Not as well known as Crawford's Academy Award winning performance of MILDRED PIERCE (Warners, 1945), A WOMAN'S FACE, as good as Crawford is as Anna Holm, and not to take away from her credibility, it makes one wonder of how good, bad or indifferent it might have become had Greta Garbo assumed the title role instead. Distributed on video cassette in the 1990s, A WOMAN'S FACE, available on DVD (with two separate radio broadcasts of the same story featuring Bette Davis and Ida Lupino) as part of the Joan Crawford collection, can be found broadcast occasionally on Turner Classic Movies. (****)

Michael_Elliott A Woman's Face (1941) *** (out of 4) Interesting thriller has Joan Crawford playing criminal Anna Holm who takes her partially deformed face out on others by living a life of crime. She meets a kind plastic surgeon (Melvyn Douglas) who agrees to fix her face but before doing so she ends up with the evil Torsten Barring (Conrad Veidt) who plans to make her carry out a murder. A WOMAN'S FACE basically asks if a heartless ugly woman can become beautiful and then grow a heart. Shallow? I'm sure in lesser hands it could have been but director George Cukor and star Crawford do a terrific job at building up the story, the characters and end with an incredibly intense sequence that's very memorable. Apparently everyone in the world tries to talk Crawford out of doing this picture because a "beautiful" woman should never "ugly" herself up. It's easy to see why the legend would want to do this part because it was certainly one of the best of her career. It allows her to play an incredibly cold character that goes through a certain development and turns into something special. I thought Crawford was flawless early in the film when it was time for her to play evil but she was also very believable during the transformation. It certainly doesn't hurt that she's surrounded by a terrific group of character actors. Douglas is his usual wonderful self as the married doctor who finds himself falling for the woman. Veidt plays a cold-blooded snake like no other and makes for a great villain. Osa Massen Albert Bassermann, Reginald Owen, Donald Meek and Marjorie Main are all very good as well. Henry Daniell and George Zucco also have brief roles during the court room sequence. The film moves along at a very good pace but there's no question that the highlight comes towards the end during a thrilling and extremely intense chase sequence. I'm not going to spoil what happens but it's certainly a very memorable sequence that will have you on the edge of your seat. Fans of Crawford are certainly going to enjoy getting to see two sides of the actress.

Box134 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.