A few months ago, I wrote a piece about the bad girls of cinema. And Barbara Stanwyck was one of them. One of her films I didn’t include on her femme fatale list was The File on Thelma Jordon, a 1949 minor noir gem that doesn’t disappoint because of her. Stanwyck pulls out all the stops here; she’s manipulative, lies like there’s no tomorrow, and commits completely to the melodrama. Falling for her deceptiveness is Cleve Marshall (a weak Wendell Corey), an unhappily married assistant district attorney with a strong penchant for alcohol. They meet accidentally when Thelma comes to report some attempted robberies at her Aunt Vera’s house where she lives.
It just happens to be Cleve’s wedding anniversary. He doesn’t want to go home to a party that includes his always intruding father-in-law, though, so he’s been “partying” by himself with a bottle. He convinces Thelma to go to a bar with him, and sparks fly as their affair begins. They start having clandestine meetings down the road from Aunt Vera’s mansion, being careful not to be seen. But they are being watched. As their relationship continues, Thelma’s stories continue to change (She’s married, she’s not married), but Cleve accepts it all hook, line, and sinker. Patsy must be imprinted on his forehead.
When Aunt Vera (Gertrude Hoffman) is murdered right after a will change, Thelma becomes the main suspect and is arrested. Facing the death penalty, she enlists Cleve to help her, which he willingly does by providing the $5000 lawyer fee for her. And that’s just the beginning. Thelma’s clever lawyer Kingsley Willis (scenery chewer Stanley Ridges) finds a way for Cleve to be assigned the case. Meanwhile Cleve is also dealing with his neglected but ever patient doormat…oops, I mean wife Pam (Joan Tetzel). Suspecting infidelity, she confronts Cleve and he admits there is another woman, but assures Pam, he still loves her and their two children (played by Corey’s real-life offspring). Also lurking around is tough guy Tony Laredo (Richard Rober), Thelma’s co-conspirator boyfriend.
The trial ends with Thelma being found not guilty. She is now a rich heiress and plans to take off with boyfriend Tony for adventures in the high life. Cleve shows up and she admits she did murder her aunt and that she loves Tony. Cleve was just the fall guy. I won’t spoil the explosive ending.
Barbara Stanwyck must have had strong shoulders, because she carries this film all on her own. Her role is similar to the one she played in the 1944 classic Double Indemnity but shaded more, especially in the beginning, because you do believe her lies. In Double Indemnity we know immediately she’s rotten. In this one, her ruthlessness takes time to show its devious face. Wendell Corey is just no match for her. He comes off weak, but maybe that’s the point. He’s the perfect mark for her. Offering solid support is Paul Kelly as Miles Scott, Cleve’s suspicious work colleague who was aware that Cleve’s father-in-law was having him followed and sensed his involvement.
The film is directed by Robert Siodmak, known for other noir films The Killers (1946) and Criss Cross (1949). With the help of George Barnes’ lighting, he creates a tense and creepy atmosphere on the night of the murder.