Secret Beyond the Door... (1947) 1080p

Movie Poster
Secret Beyond the Door... (1947) 1080p - Movie Poster
Drama | Film-Noir
Frame Rate:
23.976 fps
English 5.1  
Run Time:
99 min
IMDB Rating:
6.8 / 10 
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Directors: Fritz Lang [Director] ,

Movie Description:
In this Freudian version of the Bluebeard tale, a young, trust-funded New Yorker goes to Mexico on vacation before marrying an old friend whom she considers a safe choice for a husband. However, there she finds her dream man, a handsome, mysterious stranger who spots her in a crowd. In a matter of a few days they marry, honeymoon, and move to his mansion, to which he has added a wing full of rooms where famous murders took place. She discovers many secrets about the house and her husband, but what she really wants to know is what is in the room her husband always keeps locked.


  • Secret Beyond the Door... (1947) 1080p - Movie Scene 1
  • Secret Beyond the Door... (1947) 1080p - Movie Scene 2
  • Secret Beyond the Door... (1947) 1080p - Movie Scene 1

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What does it take to get this woman to leave?!

"Secret Beyond the Door..." is a reworking of "Rebecca". While there are plenty of differences, there are enough similarities that you can assume the Daphne Du Maurier was the starting point for the story from "Secret Beyond the Door...". However, there's one huge difference, one that makes the later film harder to enjoy. In "Rebecca", the new wife was naive, young and a bit dim. In "Secret", she (Joan Bennett) is supposed to be much more worldly, educated and older....and so her actions really don't make a lot of sense.

When the film begins, Celia is being castigated by her brother for not settling down and getting married. She tells him she's having too much fun...and has no plans to settle down. Then, inexplicably, she meets a man and almost immediately marries him...though she knows little about Mark (Michael Redgrave). Well, soon after, she learns that he completely misrepresented himself--he'd already been married AND he had a teenage son. These things he casually 'forgot' to tell Celia. At the same time, Mark has gone from clever and sweet to a dark, brooding and obnoxious guy....with apparently little love for Celia. Now at this point, what would any sane woman do? They certainly would NOT stay...and as more and more evidence mounts up that Mark might be insane and dangerous, Celia stays!! Even when he shows off his 'murder rooms'--recreation of rooms where various women were murdered---she stays! Does this make sense? Nope. Did it work in "Rebecca"....well, a heck of a lot better than in this moody, atmospheric but ultimately goofy film that makes little sense. Add to that some inane narration as Celia speaks her mind aloud during much of the movie and you've got a film that looks good but leaves the viewer frustrated...frustrated at how dumb Celia is AND at how there's little in the way of subtlety or intelligence behind all this.

Despite some quality actors and a famous director (Fritz Lang), it's a bad movie that LOOKS good...with lovely cinematography, music and an appropriate mood. Too bad it didn't even end well as has Celia playing armchair psychologist and attempting to cure her psychotic hubby!

Michael Redgrave tortured by guilt complex over dead wife, meets new wife to make matters worse.

Joan Bennett is always good and reliable and worth seeing, and so is Michael Redgrave, no matter how weird characters he makes, and this is one of the weirdest. As a pychological thriller it's not quite credible, Joan Bennett showing some astonishing carelessness in now and then going into panic, and Michael Redgrave unable to control himself almost as a somnambulist. The supporting characters are almost more interesting, and the boy seems to be the only clever one. What actually makes this film is the effects, above all Miklos Rosza's always tremendous music, but also Fritz Lang's knack of conjuring some magic, here especially Joan Bennett losing herself in dark corridors - it happens demonstrably frequently in this film. All these effects tend to tower up to some exaggerated theatricalness, while as a psychological thriller it would have been more efficient with less. But it's great cinematic magic, all the way to the end.

The Suspicion of Spellbound Rebecca by Gaslight

Highly derivative this low-budget film noir thriller may be but with Fritz Lang at the helm, you forget the ridiculous plot and admire instead the cinematography and atmosphere he brings to proceedings. And when I say ridiculous, I mean it, how else to describe a storyline where a widowed architect marries a wealthy city girl and takes her to his big old house in the country where he's made over a number of the rooms into murder tableaux. You might think she'd look for the door marked "Exit", but no Joan Bennett herself gets obsessed with the one room he's locked up, the mysterious number 7 and before too long is making a copy of the key, so she can investigate, naturally at the dead of night.

Being the 40's the Freudian overtones are overpowering, as the husband, Michael Redgrave in his first Hollywood role, seems to be over-reacting to years of unhealthy female influence and dominance in his life as his mood swings like, well, I guess you'd say, a door.

In the background there's an apparently disfigured housekeeper Miss Robey, Redgrave's supportive sister and his difficult, moody son but the main tension is between the leads as it builds gradually to a fiery ending.

The plot may creak at times like an old floorboard, Redgrave and Bennett are somewhat stiff and cold in their parts and the continuity isn't all it could be, but if like me you like film noir settings then this is for you too. Thus we get Bennett's interior monologues, lots of shots of her in front of mirrors, lots of scenes with darkened doors and symbolic keys, and even a shroud-like mist followed by a thunderstorm on the climactic night. There are some great shots of starkly-lit corridors and a wonderfully imaginative dream sequence (yes, it has those too) of Redgrave's where he's prosecuting himself in front of a judge and jury whose faces are in shadow. Dmitri Tiompkin's atmospheric score adds a lot to the overall mystery and dread, particularly at the end.

This may not be Lang's best American film but there was more than enough in it to keep an avowed fan like me keenly watching.
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