The Furniture: Ellen Revolts Against the Upholstery in Leave Her to Heaven

"The Furniture," by Daniel Walber. (Click on the images for magnified detail)

This week marks the 75th anniversary of Leave Her to Heaven, a technicolor noir blockbuster with set decoration so opulent, you will find yourself shouting at the upholstery.

It has other virtues, of course: Gene Tierney’s wickedly genre-shifting performance, Leon Shamroy’s shadow-wielding cinematography, Vincent Price’s height, etc. But the last time I watched it, I couldn’t take my eyes off the sets. The film takes place in a fever-dream of post-war prosperity before the fact, an endless parade of over-decorated vacation homes.

Frankly, it should have won the Oscar for Best Art Direction - Interior Decoration, Color...

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Gene Tierney @ 100: Leave Her To Heaven

by Jason Adams

The surface of the lake is calm -- almost, but not quite, like a mirror. It's a clinical aquamarine color, not much different from Gene Tierney's own eyes. Not that we can see her eyes -- she's just put on her sunglasses. They too act as mirrors -- dark mirrors, reflecting darkness. Ellen Berent Harland (Tierney) watches as the annoying little "cripple" Danny (Darryl Hickman) breaks the sheen of the lake's surface, as if slipping through into some unseen Wonderland -- they say repeatedly the water is warm, so warm, so very warm, but it looks to us cold, ice cold, and indeed the actor Hickman got pneumonia from the filming of this, Leave Her to Heaven's most infamous scene.

But then that's a sense that suffuses all of John M. Stahl's 1945 technicolor Noir masterpiece -- the feeling that something that sounds warm and inviting on its surface might actually be hiding an icy purgatory of horrors just beneath...

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