Copyright 6 May 1941 by Loew's Inc. An M-G-M picture. New York opening at the Capitol: 15 May 1941. U.S. release: 23 May 1941. U.K. release: 30 August 1941. Australian release: 9 October 1941. Length: 9,565 feet. 106 minutes. (The Warner DVD rates ten out of ten).NOTES: Cukor told me that the wonderful snowstorm climax was shot by a second unit under the direction of producer Victor Saville.COMMENT: After a most impressive opening, this film is undermined by some tedious and banal dialogue scenes, all shot in extremely long and boring takes. Fortunately, it ends with a bang — a sleigh chase so dramatically inter-cut, and filmed by Victor Saville from such a diverse variety of angles, it cannot fail to move the spectator to the edge of his chair. Sad to say, Melvyn Douglas is a liability who does nothing for the film, and even such a stalwart trouper as Marjorie Main remains disappointingly lackluster in a role she should have relished. But the rest of the cast, particularly Donald Meek and Osa Massen, have a royal time with this melodrama. Crawford and Veidt have their moments too, though they fail to sustain their portrayals at a high pitch of intensity; while Henry Daniell and George Zucco strive valiantly to make their presence felt in small roles. Planck's photography, particularly his outre lighting of the earlier scenes, is superb. The art direction is similarly impressive.A SECOND VIEW: As I inferred above, the first half-hour or so is marvelous — despite some remarkably fatuous dialogue of the "Do you like music: symphonies, concertos?" caliber. Fortunately, the best witnesses are brought on right at the start, with Donald Meek absolutely delightful as a rascally waiter, while boring old windbags like Bassermann bring up the rear. Alas, once the operation is over, the film's interest nosedives. We can see the denouement coming a mile off, but the characters take their own nice time getting there. Even the climax on the cable car over the dam and the night chase in the sleighs with lots of speeded-up action and obvious meanwhile-back-in-the-studio inserts, fail to generate much excitement. Cukor's direction is at its stylish best in the initial segments, the tone set by such opening masterstrokes as the rapidly cut tracking shots of Crawford and her guards. Crawford, of course, is great, but Douglas rates as a pain (fortunately he's not in the film all that much). Veidt makes a charming villain. And there's a terrific music score by Kaper.

When Joan Crawford's best films are the subject of any discussion, the list always includes the film she won the Oscar for - "Mildred Pierce" and for good reason - its a fine film with an outstanding cast and even today, holds up pretty well.But what seems to get lost in the shuffle is a film she made four years earlier, which in many ways equals and in some ways surpasses "Mildred Pierce" -- the 1941 film "A Woman's Face" is a much underrated film which showcases one of Crawford's best roles.An intriguing story of a woman who has lived as an outcast because of facial scars suffered in a fire since childhood and now lives among unscrupulous scheming blackmailers, herself becoming the most skilled of their group - when a plastic surgeon decides to fix the deformity that has made her a bitter and distrustful woman, she is introduced to the possibility of living a normal life, one where she can as she says in the film - when the world looks at her - "she can look back" without hiding.The film is a well-blended mix of dark characters and and some very quirky humorous ones too, directed by one of MGM's A-team directors George Cukor. The story is told in a series of flashbacks ie..each witnesses testimony before a Swiss court for a woman who is accused of murder.Conrad Veight in a role that could be considered almost a precursor of his famous role of Maj. Strasser in Casablanca, particularly stands out - his villainous, cynical dialogue carries the darker scenes very effectively. However two parts are weak - Melvyn Douglas, who can usually be depended on for an admirable performance, comes across as very bland and predictable and Osa Massen - her scenes are painful to watch, overacted to the point that it makes you wince - but these parts are fortunately overshadowed by the other supporting roles that are made up of a quirky assortment of characters that include Reginald Owen, Marjorie Main and Donald Meek that bring an off-the-wall humor but in a subtle way - Meek is particularly good in his part.The photography and the sets are beautifully done. The film offers a good use of close-ups and shadows that in some ways resembles the techniques heavily used in the "film noir" films of the late 40's and early 50's - and in a time when films were rarely shot on location "A Woman's Face" has some of the most beautifully crafted sets that remind me a little of the "Magnificent Ambersons" they really stand out.But the star of the movie is without a doubt - Joan Crawford - her performance draws you in even more so than her role in "Mildred Pierce" and she has probably never looked more naturally beautiful.If you're a Joan Crawford fan or not - check this one out - its good

This takes place in Sweden. Anna Holm (Joan Crawford) is a blackmailer with a disfiguring scar on her face. Because of the scar she hates herself and everybody else. She meets Torsten Barring (Conrad Veidt) who lives beyond his means and needs her help. She gets her face fixed by kind Dr. Gustaf Segert (Melvyn Douglas). She's happy and free--but can't escape her evil past completely.Strange movie. It's well-made with top MGM production values and starts off as an interesting psychological drama. However, after Crawford's face is fixed, the psychological angle is dropped and it turns into another one of her women pictures. That's not a bad thing (I actually like womens pictures) but it started out so differently--and more interesting. Still it is a good movie and looks incredible. Also director George Cukor somehow got Crawford to underplay her role and it works beautifully. For once she reins in her tendency to over emote and gives a thoughtful good performance. The rest of the cast is fine except for Marjorie Main who seems WAY out of place as a Swedish woman! Still it's worth catching. I give it a 7.

An exciting cast, an excellent story, excellent acting. Joan Crawford is perfect as a malevolent blackmailer who has a change of heart after her facial disfigurement is repaired.The story progresses in an interesting way, with the plot unfolding during a murder trial. Each witness builds the story line, and the script has many unexpected plot twists, making this film anything but predictable.This film is a good example of how skillful film makers create special effects without high-tech gadgetry. It's wonderful that we have films like this to show us what real movie-making is like.