Yes, this movie is a mess: confusing dialogue, incomprehensible character development, choppy plot development, and some truly unfortunate music choices. But there are three good reasons to still watch Jean Renoir’s curious noir, my choice for the Classic Movie Blog Association Fun in the Sun! blogathon
- Robert Ryan’s performance as Scott. Can any man in noir perform intensity as well as Robert Ryan? I never feel any attraction or liking for Ryan’s characters in any film, but he certainly gets under my skin. Who better to play a Coast Guardsman with PTSD than Ryan? Scott is also impulsive, erratic, and passionate—and fully realized thanks to Ryan.
- The complexity–and unpredictability–of the “love” triangle. Scott falls for Peggy (Joan Bennett), a woman collecting firewood next to an old shipwreck, because she’s haunted, like he is. It doesn’t hurt that Peggy looks like Joan Bennett. Unfortunately for Scott, Peggy is married to an artist, Tod (Charles Bickford), who is, if possible, even more intense than Scott. We learn soon that Peggy accidentally blinded Tod in a drunken squabble. Her husband is so awful–abusive and violent and creepy–that we understand her fling with Scott and desire to escape with him. But things aren’t quite what they seem. There is something still between Peggy and Tod, mysterious as that connection might be to viewers. It’s not exactly love; it’s not exactly hate. It may just be toxicity–but there’s something there all the same. How will it all turn out? The film keeps us guessing.
- Jean Renoir. It’s odd to watch a film by such a famed director that is such an odd misfire. The story is that an advance viewing was a disaster for Renoir, and he was forced to make cuts and edits that didn’t serve the story. While that butchering IS clear, his original goal isn’t. But that’s what makes the film so intriguing. What did he want to say about these three tortured people, especially the original couple? What are we to make of how it starts, and how it ends? Why did he feel traditional noir tropes wouldn’t serve him, and yet set out to write (with Frank Davis) a noir anyway? And why choose this story to adapt? It’s hard to say, but the guesswork will keep you watching.
This review is part of the blogathon held by the Classic Movie Blog association, Fun in the Sun! Check out the excellent entries there, which are also mainly much happier viewings than this grim tale!
Well now Iām intrigued! Lol
It’s an interesting one!
Thanks for your post! Your review intrigued me, so tonight I found Eddie Muller’s intro and outro for “Woman on the Beach” on YouTube, and saw that the film is available on archive.org. I watched it, and appreciated Renoir’s dream-like use of cinematography. I enjoyed his “Grand Illusion” of course, and was curious about this film for ages. Being a film noir fan, I appreciate Joan Bennett as a purely rotten femme fatale similar to Barbara Stanwyck’s Phyllis Dietrichson in “Double Indemnity.” Learning that Renoir was reacting to a preview audience that wasn’t necessarily interested in an existential drama, and then toiled for 7 months afterward to complete a film within the constraints of RKO and American film industry, it makes sense that it was something of a muddle. I appreciated the visual artistry, though, and enjoyed watching the perverse relationships! Although, I did feel sorry for the nice girl who lost out on PTSD Coast Guardsman Ryan. She reminded me of Nancy Olson’s character in “Sunset Boulevard”. Our Noir heroes have too much self-loathing to allow themselves to be loved unconditionally by the good heroine. Thanks again for the inspiration to watch a film noir that has been on my list for a long time.
I felt sorry for the love interest too. But I thought, given some of his actions with Peggy’s husband, it was a lucky escape! You’re right about the cinematography. It really stays with you. I didn’t find Peggy quite as rotten as Phyllis. I felt a bit sorry for her for being unable to leave such an awful situation. She’s not as greedy/cruel as Phyllis–but equally messed up!
I saw this at a Noir City festival several years ago, made a point to see it, and had the same reaction – what was Renoir trying to do/say/express?
Exactly! It’s so fascinating and strange.
But were they having fun in the sun? Charles Bickford is one of those actors who scares me a little – talk about intense. It makes me feel bad for poor Joan already.
LOL. So true!!
This film made it onto my favorite underrated noirs post recently! I love the way you’ve written about it here. You’ve perfectly captured the mystery and fascination of this unique movie. Have you read the source novel or Renoir’s autobiography?
Thank you! No, I haven’t. But I’d love to. I’m curious what you thought of the source novel.
Same! It’s on my ever growing tbr list, but when I do read it I will swing by with some non-spoiler thoughts.
Thanks!
I’m intrigued by this, and I’ll look for it on archive.org (thanks for that tip, previous commenter). However, I’ll go into it with lowered expectations ā thanks for the heads up! š
That’s the right approach!