This, one of the most famous lines in cinema history, occurs when one character has exhausted the other by a repeated mixture of emotional demands and exploitation. In Gone with the Wind, this was between just two characters. Here there four: Lizabeth Scott, Barbara Stanwick, Kirk Douglas and Van Heflin - all stars in their own rights. But it is the director who is the guilty party. Reaching for a gun in the top drawer of the desk - once is enough. Twice is done for effect, comic or otherwise. Here it appears to be lazy indifference. The scene where a couple blaze away at each other verbally, revealing things never revealed before, going from anger to understanding to lurve, is fair enough in any film but never ever repeated both with different pairings and even the same pairing - again if not for (comic) effect.Another reviewer has pointed to the films stageyness - action repeatedly occurs in the same or similar settings - with similar camera anglesThe mood is so variable that the viewer is never clear whether the party with a gun (all at different times) intend to sleep with, slug or shoot the other. Frankly, after an hour, I couldnt give a damn

Barbara Stanwyck plays the title role in this drama also starring Van Heflin and Kirk Douglas.As a child, Heflin left his small town on a train when it was suspected that he was responsible for a crime. He returns years later to find that the real culprit of the crime, Stanwyck, is married to the just elected district attorney, Douglas, though she wears the pants in the marriage given the fact that she inherited the family fortune upon her aunt's (Judith Anderson) death, the crime for which Heflin's character was suspected per his absence.Lizabeth Scott plays a transient woman Heflin picks up when he returns to town. Of course, Stanwyck is still attracted to her former beau, especially because her husband is rather wimpy and a drunkard to boot (that's right, Kirk Douglas against type!).Neither Stanwyck, who tries to seduce him, nor Douglas, who uses his newfound position to threaten him, want Heflin to reveal the true secret of the long forgotten crime.John Patrick's Original Story was nominated for an Oscar. Directed by Lewis Milestone with a screenplay by Robert Rossen.

"Strange love of Martha Ivers" must be one of my all-time favorite movies ever - one of those truly classics that I return to from time to time and watch in awe, always finding new details and enjoying it immensely. It has everything - b&w beautiful picture with lots of shadows, thunders, lighting, immoral characters, beautiful houses, shabby hotels, detectives, criminals, delightful slang expressions of the time, excellent actors and brilliant script. I could live in this movie. After a long absence, Van Heflin stumbles by accident in his hometown (driving drunken sailor who is uncredited future director Blake Edwards!) where his unexpected return raises alarming suspicion of local big fish (Kirk Douglas in his first movie role!) now married to Heflin's old flame. Kirk Douglas and Barbara Stanwyck live in marriage from hell, one of those strange, sadistic relationships made only for the sake of appearance and their scenes are frightening and fascinating to watch - Stanwyck is cold as ice towards her intellectually inferior husband but he is snake as well. Stanwyck composure falls apart when she sees Van Heflin who is simply amused, while Douglas watches from a side, knowing her too well and understanding she is slipping from his grasp. I won't go into details about the story - it must be seen to enjoy properly - but trough the movie we actually feel a little bit of sympathy for Stanwyck who was caged in this prison of marriage hoping to escape somehow one day.Her role is negative in "moral" sense and still Stanwyck manages to appear human under that cold posture.Acting is excellent - Kirk Douglas is weak alcoholic bowing in presence of strong wife but cruel otherwise, Stanwyck tough as nails and scared little girl in presence of love of her life, Van Heflin our good-guy-with-a-past who hides a good heart under tough exterior (and he can fight too, not afraid of any policemen or detectives sent to scare him away) and there is a excellent supporting role for Lizabeth Scott who is here as his love interest, balance for cruel Martha Ivers. However, this is film noir so even Lizabeth Scott is not exactly goodie goddie, she also has dark past and her own secrets however Van Heflin is ready to overlook this and take her under his wing the way she is, bruised butterfly and all. For years I have been fascinated with Scott's acting and role in this movie and although she is only a supporting role here, I always loved her. In fact, sometimes I watch the movie because of her - I admit its impossible to overshadow Barbara Stanwyck but Scott is darn close. Great movie, truly a classic.

I never fully understood why this film only played at odd intervals, then found out it had fallen into the Public Domain. It's difficult to understand how a major American production company can let a major motion picture of its day lapse without renewing the rights! This seems to be the reason the ABC (Aust) are still running a copy struck from an old TV film print, and not a pristine remastered version.While at times the melodramatic aspects may seem a tad overwrought, this is compelling 40's viewing indeed. The story moves along at a good pace and offers a bevy of fascinating characters and situations. As with any works featuring the writings of award winner Robert Rossen, it has believable dialogue and here, it's delivered by convincing characters. If anything, the minor lapses are most likely due to fiddling or additions to the original draft. Rossen who preferred to work alone is well known for many superlative adaptations ie; 'The Sea Wolf' 41 ~ 'They won't Forget' 37 ~ 'All the Kings Men' 49 and 'The Hustler' in 61. It's said he was considerably upset by conflicts with Warren Beatty during the making of his last film 'Lilith' in 64. He died two years later at only 57yrs, survived by his lifetime wife and their children. As with other creative writers of this era, his career was heavily damaged during the paranoid days of the House of Un-American Activities. Being of Russian Jewish parentage he was always looking for an opportunity to stand up for the oppressed. Many of his political statements were excised from several of his scripts by film company exec's prior to release. In this film's case the uncredited script additions were by Robert Riskin; himself an award winning writer known for: 'Mr Deeds Goes to Town' 36 and 'Meet John Doe' in 41, but it's rare that a screenwriter can alter another's work and keep the mood perfectly. The original story 'Love Lies Bleeding' by John Patrick was nominated for an Oscar - he later followed up with 'The Hasty Heart' 49 and 'Gigot' in 62The cast work perfectly together right down to the support players. The great Van Heflin as the kid from the wrong side of the tracks returning home having made good, but from questionable means, turns in another strong performance. As does Barbara Stanwyck; playing the rich kid with everything but love, with Kirk Douglas as the son of a scheming father who benefits financially because he shares a dark secret from Stanwycks' past. It was Lauren Bacall who recommended fellow drama school colleague Issur Danielovitch Demsky (now Kirk Douglas) to producer Wallis that resulted in his selection for the second male lead...in his first major screen role he makes a terrific impression.Prolific Ukraine born Director Lewis Milestone of 'All Quite on the Western Front' 30 and 'Of Mice and Men' 39 fame, was also nominated when 'Martha Ivers' was first screened at Cannes film festival. Award winning Director of Photography Victor Milner also known for: 'Broken Lullaby' 32 and the epic 'Cleopatra' 35, leaves us with dazzling, moody, B/W images. Perhaps another minor gripe for me, the make up dept could have done more with Heflin's appearance, in the days that followed a roughing up by several of Douglas' paid henchmen. But how often we still see this sort of thing in many productions to this day. Miklos Rozsas' all too familiar big score, adds some excitement but is perhaps a bit over the top, still, followers of his work will be kept happy. Unfortunately Producer Hal B. Wallis was grooming new-comer Lizabeth Scott for stardom and had Edith Head design several provocative and obviously over glossy wardrobe items that were at odds with her character's standing. Barbara Stanwyck also gets to 'dress up to the hilt' but at least it suits her situation. Watch for future producer Blake Edwards as the sleepy Sailor hitching a ride in Heflin's car. The Image posted for this classic on IMDb's title page, shows the cover of a Paramount DVD, perhaps they finally found a good negative and gave it a well deserved polish for a re-release...? If you enjoy well made 40's drama, then this comes with a high recommendation for solid entertainment. KenR.