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Title:
Daisy Kenyon
Synopsis:
Commercial artist Daisy Kenyon is involved with married lawyer Dan OMara, and hopes someday to marry him, if he ever divorces his wife Lucille. She meets returning veteran Peter, a decent and caring man, whom she does not love, but who offers her love and a more hopeful relationship. She marries him... just as Dan gets a divorce.
Otto Preminger’s Daisy Kenyon is an unsung beauty from Hollywood’s golden age, a remarkably good and intelligent movie that’s all the more gratifying because it could so easily have come out formulaic and sappy. In 1947 it was regarded (and implicitly shrugged off) as a ”women’s picture” or, more specifically, a ”Joan Crawford picture.” But there’s more going on here. This was shortly after the Oscar for Mildred Pierce revived the actress’s career, and the nature of a Crawford picture was changing since she had entered her (gasp) 40s. New York careerwoman Daisy (a magazine illustrator) is trying to break off her longtime affair with a high-profile lawyer and family man (Dana Andrews), and tentatively beginning a relationship with an attractive WWII veteran and widower (Henry Fonda). The men’s roles are as important as Crawford’s, and neither man is entirely what he first seems--Andrews a self-centered manipulator in all arenas, Fonda a poetic New Englander who used to design boats. Enough ambivalence, wounded psyches, and intimate violence surface to make the movie a kissing cousin to film noir... albeit a variation of noir in which no gun is pulled. Noir also leaks in through the gorgeous Fox craftsmanship. Leon Shamroy’s lustrous lighting paints the characters and their studio-made, persuasively three-dimensional environs with insinuating shadow, while still serving director Preminger’s penchant for fluid camerawork and mise-en-scène that doesn’t dictate our attitudes toward the characters. The production is a model of Hollywood professionalism at every level, and the three star performances are each atypical and complex, with Crawford more restrained and thoughtful than we’re accustomed to seeing her. And speaking of model performances, plan to rewatch the film while listening to the commentary by Foster Hirsch, author of the excellent critical biography, Otto Preminger: The Man Who Would Be King; Hirsch is especially sharp on Preminger’s stylistic choices and the underappreciated Dana Andrews.
Special Features:
Commentary by film noir historian Foster Hirsch
From Journeyman to Artist: Otto Preminger at Twentieth Century Fox
Life in the Shadows: The Making of Daisy Kenyon
Interactive pressbook
Still galleries
Original theatrical trailer
Otto Preminger’s Daisy Kenyon is an unsung beauty from Hollywood’s golden age, a remarkably good and intelligent movie that’s all the more gratifying because it could so easily have come out formulaic and sappy. In 1947 it was regarded (and implicitly shrugged off) as a ”women’s picture” or, more specifically, a ”Joan Crawford picture.” But there’s more going on here. This was shortly after the Oscar for Mildred Pierce revived the actress’s career, and the nature of a Crawford picture was changing since she had entered her (gasp) 40s. New York careerwoman Daisy (a magazine illustrator) is trying to break off her longtime affair with a high-profile lawyer and family man (Dana Andrews), and tentatively beginning a relationship with an attractive WWII veteran and widower (Henry Fonda). The men’s roles are as important as Crawford’s, and neither man is entirely what he first seems--Andrews a self-centered manipulator in all arenas, Fonda a poetic New Englander who used to design boats. Enough ambivalence, wounded psyches, and intimate violence surface to make the movie a kissing cousin to film noir... albeit a variation of noir in which no gun is pulled. Noir also leaks in through the gorgeous Fox craftsmanship. Leon Shamroy’s lustrous lighting paints the characters and their studio-made, persuasively three-dimensional environs with insinuating shadow, while still serving director Preminger’s penchant for fluid camerawork and mise-en-scène that doesn’t dictate our attitudes toward the characters. The production is a model of Hollywood professionalism at every level, and the three star performances are each atypical and complex, with Crawford more restrained and thoughtful than we’re accustomed to seeing her. And speaking of model performances, plan to rewatch the film while listening to the commentary by Foster Hirsch, author of the excellent critical biography, Otto Preminger: The Man Who Would Be King; Hirsch is especially sharp on Preminger’s stylistic choices and the underappreciated Dana Andrews.
Special Features:
Commentary by film noir historian Foster Hirsch
From Journeyman to Artist: Otto Preminger at Twentieth Century Fox
Life in the Shadows: The Making of Daisy Kenyon
Interactive pressbook
Still galleries
Original theatrical trailer
Format:
Blu-ray
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Movie Release Year:
1947
Rating:
NR
Barcode:
738329206550
Genre:
Drama
Film Noir
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Show Type:
Movie
Series:
KL Studio Classics
IMDb Rating:
6.8
Date Added:
2018-02-07 21:47:06
Original Aspect Ratio:
1.33:1
Actors:
Henry Fonda
Dana Andrews
Joan Crawford
Martha Stewart
Ruth Warrick
Connie Marshall
Peggy Ann Garner
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Directors:
Otto Preminger
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Black & White:
Yes
Runtime:
99
Release Date:
1947-11-27
Studios:
Kino Lorber
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Resolution:
1080p
Item Aspect Ratio:
1.37:1
Discs:
1
Packaging:
Keep Case
Extras:
Audio Commentary
Theatrical Trailers
Photo Gallery
Documentary
Featurette
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Automatic Estimated Value:
~$34.04
Automatic Estimated Date:
2026-02-19
Date Added:
2018-02-07 21:47:06
