The File on Thelma Jordon


Crime / Drama / Film-Noir / Mystery

IMDb Rating 6.9 10 1,821


Downloaded times
December 26, 2019



Barbara Stanwyck as Cora Sutliff
Kasey Rogers as Dolly - Cleve's Secretary
Kenneth Tobey as Lieutenant Herly
Paul Kelly as Miles Scott
720p.BLU 1080p.BLU
873.87 MB
23.976 fps
100 min
P/S N/A / N/A
1.56 GB
23.976 fps
100 min
P/S N/A / N/A

Movie Reviews

Reviewed by lastliberal-853-253708 8 / 10 / 10

I don't think of him anymore because of you.

Wendell Corey had a long career in film and television. In this film he plays Cleve Marshall, an assistant DA who is staying late at the office to avoid going home on his anniversary because his father-in-law (Minor Watson) is there. While he knocking back shots as fast as he can pour them, in walks Thelma Jordan (Barbara Stanwyck) looking for help. Now, one would certainly be suspicious if a beauty like that immediately began a relationship, but our intrepid hero is too drunk to notice, and, after all, he wants to go out and find a dame. He is no better the next day when his wife (Joan Tetzel) takes the kids to the beach house, and leaves him alone during the week. As one would expect in film noir, everything is not as it seems. Cleve gets himself into hot water and uses all his wits to get out. I have to admit the ending was a big surprise.

Reviewed by jpdoherty 9 / 10 / 10

Another Great Unavailable Noir.

For about the first 30 minutes of Paramount's THE FILE ON THELMA JORDAN (aka "Thelma Jordan") you get the impression that it is going to be another love triangle with unhappily married District Attorney Cleve Marshall (Wendell Corey) having the hots for 'ready for a fling' Thelma Jordan (Barbara Stanwyck). But then the movie begins to find its purpose and turns out to be a splendid noir thriller. Produced for the studio by Hal Wallis in 1949 it was beautifully written for the screen by Ketti Frings and sharply photographed in monochrome by George Barnes. Adding greatly to the picture is the marvellous atmospheric score by the great Victor Young and the whole thing was masterfully directed, in his best noir style, by Robert Siodmak. Siodmak was a exceptional - but inconsistent - director. In 1945 he directed "The Spiral Staircase" one of the finest suspense thrillers ever made. Followed the next year with one of the best noirs ever produced the unequalled "The Killers". But he was prone to surprising diversity too! He could go from these supreme thrillers to directing such things as the entertaining but clownish swashbuckler "The Crimson Pirate" (1952) and the stiff and clunky western epic "Custer Of The West" (1967). Nevertheless he is best remembered today for his ingenious noir efforts. The plot of THE FILE ON THELMA JORDAN has Thelma Jordan (Barbara Stanwyck) being accused of the killing of her aunt (Gertrude Hoffman) and robbing the safe in her grand mansion. Pleading innocence, she sends for her lover Cleve Marshall (Wendell Corey) to help her. He arrives and commences to divert any blame for the murder away from her. But to no avail she is arrested anyway for the killing and charged. Cleve, as the District Attorney, now plans to prosecute her in court and purposely lose the case so that she will be acquitted. The plan works but to Cleve's chagrin it turns out that she did, after all, murder her aunt and not only that but she also has a husband (Richard Rober) with whom she had planned the whole thing from the beginning. With Cleve now totally dispirited and his career in tatters Jordan, with her husband, go away together to start over but with a change of mind and heart she deliberately causes the car they are in to crash and explode into flames. One of the most tangible aspects of the picture is the musical contribution from the great Victor Young. The main theme first heard over the titles is a gorgeous sweeping melody that becomes a ravishing love theme later. It is one of the composer's loveliest melodic inspirations and gives the lover's early scenes together a tender romantic aura. Then there is the exciting martial cue for the film's terrific set piece as Jordan is being walked hurriedly from the Jailhouse across the street to the Courthouse, flanked by milling press and public, to hear the jury's verdict. The entire pace of this sequence is achieved through the brilliant use of music.THELMA JORDAN is Young's best noir score! Performances are excellent! Stanwyck has rarely been better, doing her powerful devious Femme Fatale bit just as good as anytime before. Excellent too is Wendell Corey! The only actor I know who can deliver lines without moving his lips. An actor who usually played second male lead Corey had heaps of screen presence but was never the ideal leading man. Stanwyck who could be overshadowed quite easily by a stronger male star such as Holden or Ray Milland probably chose Corey for that very reason. She chose him again the following year to play opposite her in Anthony Mann's "The Furies". THE FILE ON THELMA JORDAN is a classic film noir but isn't it a shame that it is not available on DVD. It was on VHS at one time but now I think its about time Paramount gave serious thought to a DVD presentation.

Reviewed by bmacv 9 / 10 / 10

Stanwyck and Siodmak conspire to create a dark highlight of the noir cycle

One of the noir cycle's best titles ushers in one of its better offerings. Barbara Stanwyck's assumption of the title role, of course, gives the picture a running start. She had worked with Billy Wilder – and helped to shape the cycle – in Double Indemnity, and was to work with Fritz Lang in Clash by Night and even Anthony Mann in The Furies (a western, yes, but a dark one), all key noir craftsmen. Here her director is the no less central Robert Siodmak, and her performances in this and the other titles cited (plus The Strange Love of Martha Ivers and at least five other suspense films of the 1940s and 1950s) cement her sobriquet as the First Lady of Film Noir. Like her Martha Ivers, Stanwyck's Thelma Jordon has a wealthy old aunt (Gertrude Hoffman, who the next year in Caged would steal that movie from some very tough competition). One evening the niece strolls into the District Attorney's office with a story about prowlers and burglars (explaining that she bypassed the police because `My aunt is eccentric, and uniforms upset her'). She tells her tale to an inebriated assistant D.A., Wendell Corey, who's drinking to escape his embittered marriage. Stanwyck lends a sympathetic ear, and they start seeing one another on the sly. When the aunt, inevitably, is found shot, Stanwyck calls not the police but Corey, and in a tense and extended scene of panic, he helps her cover up evidence that may incriminate her. When she emerges as the prime suspect, he also arranges for his boss to be disqualified, so he can sabotage the prosecution. Stanwyck (after a beautifully orchestrated processional from jail to courthouse) is acquitted. But her past has begun to catch up with her, complete with a shady lover who keeps turning up – and who shoves the compromised Corey out of the picture. But never trust a duplicitous woman, particularly if she's within easy reach of a dashboard cigarette lighter.... Siodmak (with Ketti Frings, who wrote the screenplay) starts the movie so slowly that it looks like it's going to shape up into a routine, adulterous triangle. But he's just laying his groundwork. He keeps Stanwyck behind ambiguous veils, too, stripping them off one by one. Corey proves just right as the dupe, the fall guy (as Fred MacMurray proved right in Double Indemnity); a skillful character actor who always submerged his own personality in the roles he played, he tended to look a little pallid in leading-man roles he took next to the female stars against whom he was pitted. Siodmak may be the most ruminative of the great noir auteurs – he eschews flash for solid, patient construction. But when it's time for the big set-pieces (the nocturnal panic in the dark old mansion, the perp walk, the shocking flourish of violence at the end courtesy of Stanwyck and that cigarette lighter), he does them full justice. The File on Thelma Jordon falls just short of the summa-cum-laude distinction of his The Killers, and maybe of Criss Cross and even Christmas Holiday, too. But with Stanwyck's drawing upon the full fetch of her talents, it's an indispensable moment in the noir cycle.

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