Joseph L. Mankiewicz - 1950
The interest is really in the structure more than the specific images. These images are generally SRS stuff, with some thought, nice ones of Davies buried in her furs. Indeed, there are a number of memorable medium shots. To be fair, there are also some touches, not really built in structurally but very apparent at times, where cinema is created; Thelma Ritter walks through the room, Eve is talked to by way of a shut door.
The interest, though, is in that script and its struture. There are discussions of the theatre Hollywood, reflective devices; if reflection is ending a scene by saying 'end of act'. No question, the script is smart, modern, intelligent.
The structure though, of multiple voiceovers, reflections on a past life, changes on point of view, is the excitment with Mankiewicz, as in 'The Barefoot Contessa'. These are well done, as they are part of the overall questioning of identity is crucial. Again, our central character is unkowable, enigmatic. Identity is but a characde for all; how can one know someone, even oneself?
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