Tonight's Movie: Dark Waters (1944) at UCLA

I had a terrific evening last night at UCLA's Billy Wilder Theater.

The occasion was a movie screening, book signing, and discussion of actress Merle Oberon as part of the UCLA Film & Television Archive's Archives Talks series.

Prior to the screening, Oberon biographer Mayukh Sen signed copies of his book LOVE QUEENIE: MERLE OBERON, HOLLYWOOD'S FIRST SOUTH ASIAN STAR, which was published in March by W.W. Norton & Company.

Just before the movie started, Sen gave an interesting slideshow on key events in Oberon's life and where the evening's film, DARK WATERS (1944), fit in her career.

He also shared how he realized early on in his research that he would need to essentially start from a blank slate, as so much false information was published about Oberon over the years; he did extensive primary source research including obtaining government documents, such as her immigration file and travel records. He also received cooperation from her family which was not given to previous writers. The 288-page book has extensive end notes and looks like it should be a terrific read.

DARK WATERS was a United Artists film which Sen described as a "deep cut" from Oberon's filmography. Indeed, it does not appear to be readily available for authorized home viewing on DVD or VHS -- there was a 1999 DVD from Image Entertainment -- so it was all the more special to see a 35mm print of the movie from UCLA's Archives.

The screenplay for this 90-minute film was cowritten by frequent Alfred Hitchcock associate Joan Harrison, along with Marian B. Cockrell, based on a story Cockrell wrote with her husband Francis. John Huston is said to have done some uncredited work on the script as well.

Oberon plays Leslie Calvin, who as the film begins has just survived a U-boat attack on a ship, in which she suffered the loss of her parents. After a lengthy recuperation in the hospital, she's invited by an aunt and uncle she's never met to visit them at their Louisiana plantation.

When Leslie's train pulls in at the Louisiana town no one is there to meet her at the station, but she's befriended by a kind doctor, George Grover (Franchot Tone), who drives Leslie to her relatives' home.

When Leslie arrives, the house is in a musty, unkempt state and her aunt and uncle (Fay Bainter, John Qualen) seem a little "off," but she makes the best of it, happy she's wanted by relatives; it's a chance for her to get to know her mother's sister for the first time.

More concerning are her aunt and uncle's friend Sydney (Thomas Mitchell) and a hanger-on of sorts, Cleeve (Elisha Cook Jr.). The men constantly pester her, dredging up memories of the U-boat attack and, in Cleeve's case, telling her they could have "fun" together in a somewhat threatening manner.

And then lights start flickering during the night and Leslie hears her name being called in the distance...has the stress all been too much for her? Is she losing her mind? Former plantation employee Pearson (Rex Ingram) may be able to help with answers...and fortunately the smitten Dr. Grover comes to her aid as well.

DARK WATERS at times calls to mind other films such as THE MOST DANGEROUS GAME (1932) or the later MY NAME IS JULIA ROSS (1945). It came out the very same year as the American remake of GASLIGHT (1944) and shares some similarities, as we quickly realize certain parties are trying to make the traumatized Leslie think she's mentally unbalanced. But why?

Particularly from the modern point of view, when various aspects of this mashup of crime film/"Gothic noir" and "old dark house" mystery are familiar, the film doesn't have a great deal new to offer -- but that doesn't mean it's not quite entertaining. While the viewer can see a couple of plot revelations and twists coming fairly far in the distance, it's all delivered in an engaging fashion by an excellent cast, and I had quite a good time watching it.

The film, which was directed by Andre De Toth (RAMROD), sustains a great spooky mood throughout, scored by Miklos Rozsa and filmed in black and white by John Mescall and Archie Stout.

The movie begins with a strikingly edited sequence of Leslie in the hospital, while newspaper headlines about the U-boat tragedy fly past in the background.

Oberon is effective as a woman with what we'd now call PTSD, who simultaneously notices things around her new home are a little strange, while she also tries to fit in and be appreciative of the only family she has left.

Oberon has an absolutely great scene where she's accidentally tipped off by her aunt to what's going on; her eyes widen yet she manages to continue asking revealing questions without giving her sudden realization away. One really senses how trapped she then feels, deep in the bayou without a car and unable to reach the doctor who could help her.

There was one plot angle late in the film I didn't quite get, when the doctor feels it would be too dangerous to immediately pop Leslie into his car and skedaddle; the flip side of that is it leads to a really wonderful scene where Leslie discovers a reassuring note from the doctor. It's a lovely romantic moment even though only one of the characters is onscreen at the time.

Tone is a longtime favorite, and I especially enjoyed a charming scene where the doctor takes Leslie to a local dance, held at the home of a large family (headed by Odette Myrtil and Eugene Borden); their youngest children are played by tiny Gigi Perreau and her real-life brother Peter Miles (born Gerald Perreau).

This sequence was a special treat, having seen Gigi in person at the 2019 Noir City Film Festival, and it provides a needed reprieve from the tension in most of the other scenes. A fun note is that John Ford regular Danny Borzage plays the accordion in this scene.

Ingram and Nina Mae McKinney, who plays the cook Florella, have nice parts as the only "normal" people at the estate with whom Leslie can interact. Alan Napier of BATMAN fame plays Leslie's doctor as the movie begins.

Following the film, Mayukh Sen spoke more about Merle Oberon with Miriam Bale (seen here), offering additional insights into her life, including the career need, given the times she lived in, to cover up her multiethnic heritage. It was interesting to learn, for example, that David Niven, a lifelong friend (and one-time romance) who first knew Oberon in the early '30s, was one of the only people who knew the truth about her background.

For more on this film, my late friend Paddy wrote a short, enthused review at her blog Caftan Woman. You know it's a fun film when Paddy calls it a "dandy"! There's also a nice review at Finding Franchot.

Here's hoping that eventually this film will make it to a restored DVD or Blu-ray, as it surely deserves to be enjoyed by a wider audience.

Update: For more on Mayukh Sen, please visit my review of the documentary MARCELLA (2024).

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