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Daisy Kenyon

1947, Movie, NR, 100 mins

Daisy Kenyon: Review

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Although DAISY KENYON is a patently obvious soap opera, it is done with such style that any quibbling over its lack of complexity is unfounded. This was Fonda's final film under a contract that he felt was overly restrictive, so he was only too happy to accept whatever the studio offered to fulfill the terms of the agreement. Crawford is Daisy Kenyon, a fashion artist living in a walk-up apartment in Greenwich Village. Her relationship with powerful attorney Andrews remains a secret because Andrews is loath to leave his wife (Warrick) and children (Garner and Marshall). Despite much pressure from Crawford, Andrews refuses to alter the situation, and Crawford must be content with the stolen moments she and her lover share. An Army sergeant just home from WW II, Fonda is looking forward to returning to his prewar occupation as a ship architect. When Crawford meets Fonda, she sees that he is a sweet, kind, and gentle man--much the opposite of the mean-spirited Andrews. Fonda falls in love with Crawford and offers her marriage and a home, the things she wants but can never have with Andrews. Crawford accepts Fonda's proposal, and the newlyweds move to his cottage on Cape Cod, but Andrews can't keep away from Crawford. When he phones Crawford to tell her about a case he has lost, Warrick overhears the conversation and demands a divorce and custody of the children. A divorce trial is planned, but matters get complicated when the children say they would rather live with their father. Warrick relents, takes a payoff, and Andrews gets the divorce. He then asks Crawford to leave Fonda and start a new, exciting life with him. When Fonda realizes that Crawford is wavering, he decides to fight for her by not fighting for her, assuming a stance of watchful waiting. Finally, Andrews and Fonda meet, discuss the situation, and when Crawford returns home, they put it to her: which of them will she choose? Several emotions race across Crawford's memorable face before she realizes that she has stopped loving Andrews and started loving Fonda. Was there any doubt? Although Fonda seemingly makes his reliable but dull Peter too passive to be attractive to a woman like Daisy, his performance is perfectly in keeping with the intentions of writers Hertz and Janeway. Nevertheless, this is Crawford's picture from frame one, and the other two roles could have been played by anyone. leave a comment
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Daisy Kenyon (Fox Film Noir)
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