The term "Rape" was unmentionable on the Screen in 1950. So here it is referred to as "Criminal Assault/Attack". If this seems silly and dated, just think of the 1980's when we had a President of the United States, Ronald Reagan, who refused to utter the word "Aids" as thousands were suffering and dying. So maybe we haven't matured that much after all.Maverick Female Film Star/Director Ida Lupino determined to break barriers and push for Women's Rights decided to approach the Taboo and deliver a Story of a previously unseen on the Screen Fear facing Females everywhere. She handled it quite well, considering, although there are some missteps and considerations given here that make this a noble, but flawed effort. The first half is the most uncompromising, with its expressionistic use of the Camera and a terrifying cat and mouse chase that ends with the aforementioned "assault".But after that the situations begin to become clichéd and comfortable ways to allow the Victim to come to grips with her Anxiety. The Hollywood Code would interfere greatly and there is one scene that is completely condescending to a Male Stereotype and Cultural Mythology as she is pawed and mashed, defends herself, and is arrested because the brute is "a nice guy". This doesn't seem to be presented as Irony, as His harsh advances are never questioned, and the Film has to be faulted for that misstep.Overall though it is and Icon of the era and is noted for its breakthrough of at least tackling the subject matter, but it probably played it just a bit too safe to be considered more than a somewhat tepid try at breaking the Paradigm.

Ida Lupino is a name that we know for one of the most stunning beauties ever to appear on screen.And the beauty is great.So is the actress.So is the director.This is a stage fare sort of film. A great film has to work on stage as well as screen. A great film has to inspire kids to make believe, although the subject matter here probably is over the heads of most kids.This is the story of a respectable young woman, a total beauty on the order of Ida herself, rich in values, who is sexually assaulted.What she goes through after-wards is well depicted. Not only does Ida show us what the world sees, but she shows us what the young lady sees.Throughout the film, we get textbook directing and more. Not only is it blocked like a professional stage director would block it, but it is given all the additives that film can give. To say more would be to spoil what will be a pleasant experience for the viewer.I call it "perfect directing", but you can't have a film this perfect without perfect writing and acting as well. This film excels on all levels.I am a stickler for credible characters in incredible circumstances. However, here, we have credible characters in credible circumstances, and we still watch with interest. It is a heart filled story that will leave the strong men in tears.And it is not dated. Still relevant today. A hidden gem.

Before this little black-and-whiter, the touchy topic of criminal rape never made it onto the American screen.There were lots of these topics that Hollywood and the Production Code kept hidden until the rebellious 1960's. So it's not surprising that it would take a little independent company like Ida Lupino's Filmmakers to raise the subject. The result is well-meaning but somewhat compromised, which is not surprising since director Lupino had to work with Code demands to get the movie released.Interestingly, Ann Walton's (Mala Powers) main problem following the assault is not how others might see her, but how she sees herself. And it's a heavy load she's carrying. Will she ever be able to relate to men again? Will they look at her as "spoiled goods" (after all, this is 1950)? Small wonder she runs away rather than face these anxieties at home and at work, even though family and friends are generally supportive. Overall, this first part is earnest and well-done. The chase is hyped to inject some action into the plot, but then this is a movie-- notice how the incurious neighbor fails to respond to the honking horn near chase's end. Had those been screams of alarm from Powers instead, the neighbor's lack of response would have raised an interesting albeit complicating issue.The second half is pretty much given over to the Production Code in the sentimentalized person of Rev. Ferguson (Tod Andrews). It's he (to quote a phrase) who "gives her courage to face life again". There's some effort at humanizing him-- is it Ann or her dilemma that he's most interested in. Still, his gentle and understanding presence comes across as a little too miraculous and a little too Hollywood. Fortunately, the ending avoids the usual Hollywood cop-out by emphasizing only the hope of a happy resolution for Ann rather than its certainty. Give Lupino a ton of credit for dealing with the topic in the first place. Given the overall results, I expect she dealt as honestly with the topic as she was allowed to. I also expect today's audiences find the treatment mildly interesting mainly because of Powers' excellent performance that brings out the purely human drama. However, the film works best now as a document of its time, and what the cultural watchdogs of that day thought was appropriate for adult viewing.

R.K.O. second-feature about a small town working girl, living with her folks and about to be married, who is the victim of a "criminal assault" (i.e., rape). After reporting her attack to the police, the girl and her parents attract stares and whispers from the curious locals. In a benumbed fog, the girl boards a bus for Los Angeles, getting off in a rural town and meeting a well-meaning pastor. Interesting film, co-written and directed by Hollywood pioneer Ida Lupino, has a tight pace but it isn't well cast. Newcomer Mala Powers spends most of her time staring wide-eyed into faces, running and looking back, running and looking back, while all the men are lookalike-bland, and seem awkward with their ineffectual characters. Not-bad programmer has amusing parallels to Carroll Baker's 1961 film "Something Wild", but there isn't much outrage in this scrubbed scenario--just a stunned quiet. **1/2 from ****