Like so many other films of the early- to mid-twentieth century, 'Fear no more' maintains a decidedly brisk pace. As it does, the first impression it makes is that the course of events is a little strained, heavily reliant on movie magic to build the story. However, another image begins to form as the plot advances, and the feature in some ways comes across as a psychological thriller: fraught with fear and anxiety as protagonist Sharon is, she seems to be the only reasonable person, targeted to be framed for murder, hounded by astoundingly incompetent but persistent cops, and surrounded by other individuals who are brusque or forceful in their own ways. Just as this air is cemented, the narrative starts to take still another turn. I don't know that the course of events and plot development are perfectly solid and convincing - but in the very least the movie does a great job of keeping us engaged to see how the tale unfolds.
Ultimately the plot is tight and absorbing, vivid with tension and suspense, and deliberately twisting around itself to hook viewers. I will say that the towering pomposity of the narrative is maybe a little much, to the point that it seems to be teetering on the edge of collapsing under its own weight. This is arguably an instance in which the picture would have actually benefited from not being wound so tightly. Put this aside, however, and the screenplay is flush with complicated characters, sharp dialogue, varied and stimulating scene writing, and a complete and intriguing narrative. Bernard Wiesen exhibits fine direction in keeping the crowded production bound together and steadily moving, and the cast are well in bringing their roles to life - not least of all star Mala Powers, whose performance as Sharon requires adept range and nuance that she handily illustrates.
It's perhaps not so pulse-pounding and enthralling a feature as to demand viewership, and it's worth noting that the very end - the very last scene, following the climax - is plainly overdone so as to elicit a tired sigh as it hones in on a boring trope. Yet even as the plot sometimes struggles to bear its own mass, as a whole this is well made in every regard. It's a thriller that meets its promise, and feels quite kindred to film noir of the preceding decade that it only just leaves behind as the saga spirals out. Compared to some of its brethren 'Fear no more' maybe isn't so special as to be essential, but if you have the opportunity to watch it, these are nevertheless 80 minutes that deserve remembrance and recognition.
Ultimately the plot is tight and absorbing, vivid with tension and suspense, and deliberately twisting around itself to hook viewers. I will say that the towering pomposity of the narrative is maybe a little much, to the point that it seems to be teetering on the edge of collapsing under its own weight. This is arguably an instance in which the picture would have actually benefited from not being wound so tightly. Put this aside, however, and the screenplay is flush with complicated characters, sharp dialogue, varied and stimulating scene writing, and a complete and intriguing narrative. Bernard Wiesen exhibits fine direction in keeping the crowded production bound together and steadily moving, and the cast are well in bringing their roles to life - not least of all star Mala Powers, whose performance as Sharon requires adept range and nuance that she handily illustrates.
It's perhaps not so pulse-pounding and enthralling a feature as to demand viewership, and it's worth noting that the very end - the very last scene, following the climax - is plainly overdone so as to elicit a tired sigh as it hones in on a boring trope. Yet even as the plot sometimes struggles to bear its own mass, as a whole this is well made in every regard. It's a thriller that meets its promise, and feels quite kindred to film noir of the preceding decade that it only just leaves behind as the saga spirals out. Compared to some of its brethren 'Fear no more' maybe isn't so special as to be essential, but if you have the opportunity to watch it, these are nevertheless 80 minutes that deserve remembrance and recognition.