- Acting of Lead Performers
- Acting of Supporting Cast
- Music Score
- Title Sequence
- Historical Importance
- Would You Recommend?
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Say what you will...
- W Stall
Say what you will, this movie features a great performance by Joan Crawford long after most of her contemporaries of the 20's and 30's were washed up. And, it contains one of the all-time great cinema lines: "I overestimated Titus and I underestimated you." Crawford continued to have roles in "A" pictures for ten more years after this. Davis left Warners in '49 but Joan, four years older, kept coming up with gems, or semi-gems in this case.
- kevin sellers
No one does rags to riches, tough broads better than Joan Crawford (well, maybe Barbara Stanwyck) and this reuniting of the "Mildred Pierce" firm of Crawford, Scott, and Curtiz gives her a chance to really strut her strong willed, sexy stuff. If the characters and basic story aren't as interesting or credible as "Mildred" it's hard not to like a film where Crawford is at her most ballsy, Zachary Scott is at his most feckless, and Greenstreet is at his most despicable. A bonus is a fine performance by an actor I usually find bland, David Brian, playing the most morally ambiguous (and thus realistic) member of the cast. And Robert Wilder's screenplay provides quite a few zingers (Love it when Crawford, looking the obese Greenstreet in the eye, talks about removing a dead elephant). Curtiz's direction is, as usual, tautly paced with a nice feel for redneck noir and Ted Mc Cord's shadow and light cinematography is lusciously decadent. Give it a B.
Crawford's Great Performance and Handsome Hubby
Was very surprised at how good film was.Didn't expect much,esp after having watched series.No weak performances.Glad she married the man she deserved.Dan was such a great guy,Zach,sad to hear died so young,but he did always play weaklings.Greenstreet ya just had to hate,as lovable as his characters usually were.
Film Noir's fanatical fiends
- Will Fox
Seven years after super success with "Casablanca," drama director Michael Curtiz resurrects Joan Crawford's dying career by pairing her again, contrastingly, with weak-willed, betrayer Zachery Scott, co-star in 1945's "Mildred Pierce" and 1949's "Flamingo Road." Much more importantly, Curtiz challenges Crawford's strong-willed feminist vs. villainous, Shakespearean actor, Sydney Greenstreet, surpassing his "Maltese Falcon" (1941) charming-fiend success. Most importantly in the history of film, Greenstreet in F. Rd. becomes big-bad-bully, personifying perfect prototype for Orson Welles' most corrupt cop in one of Film Noir's foremost fiends, the insincere, smarmy sheriff in "Touch of Evil," 1958's finest Film Noir. Tune to TCM for all these character-matters classics.
Strong performances throughout!
As good as Joan Crawford is in this film, I couldn't help but believe I've seen her do this type of role before. I was more intrigued seeing Zachary Scott who gives an excellent performance in the first part of the movie and then performs a suicide in the latter part of the film. Zachary Scott did not make that many films but he was always a sleazy character. He once stated he enjoyed playing this type of role and I must say he was very good in them! He died of a brain tumor at 51 years old and it was such a shame, as he was an excellent actor and I would love to have seen more of him. Sidney Greenstreet is superb in this film and actually is the strongest role here. He rules the political roost in his part of the state and he rules with a literal iron fist. Here we are just a couple of weeks before the General Election in the US, and this type of political film firmly shows you just how corrupt politics is, even in the smallest hamlets.
Nobody messes with Joan Crawford.
This is a great Crawford movie. It shows her strength. Talk about having the guts. No one will messes with Crawford. If any woman wants to know how to buck up and man up to the big boys, just watch Crawford. She's tough. No one is messing with her. Not even Sydney Greenstreet. Those slaps that her character Lane gave his, showed that his character Titus had a formidable opponent. Greenstreet show a different type of ruthlessness. He wasn't a polished evil like in The Maltese Falcon. He was a more, wallow the in mud dirty ruthlessness. And there is Zachary Scott. He showed his acting chops in this flick. He is one of the most underrated actors that didn't get his due. Maybe with TCM, a new fan following will ensue. This is a great movie. It is the kind of movie that you'll want to see again and again.
A Great Ensemble
This movie, perhaps more than any other Crawford movie, shows how adept she was at playing in an ensemble cast. I wish either she or the studios didn't feel that she always had to be the only centerpiece of her movies. The whole team is great, from Greenstreet to Zachary Scott to David Brian. Joan's excellent performance is so relaxed and natural, which perhaps makes her more beautiful in this movie than any other--she's really stunning, and she plays that part like she lived it. Vulnerable and human, but with a backbone of steel, she's just awesome.
Flamingo Road (1949)
- Jay Higgins
Excellent Joan Crawford vehicle, she plays a tough ambitious woman in this one, a part she does so well. Well worth watching, especially for fans of Crawford's melodramas. Greenstreet provides great support. Well produced and photographed.
Not enough credit given to Crawford for this film
I couldn't agree more with Adam. It is a great film and Crawford showed her many faceted acting talent in this one. I don't know why but for some reason this film seems to be considered a "second class film". I rate it "First Class" all the way.
A mature Movie for a Mature Crawford
I personally think this one is the strongest out of the Joan Crawford Collection Vol. 2. Joan is a tough, down on her luck Carny Girl, Lane Bellamy who decides not to go with her troupe and settle down in a town. However, she is met with disapproval especially by the ultra powerful sheriff (Sydney Greenstreet). He hates her guts and tries to make her life a living hell throughout the film. However, fiesty Lane will not be shooed away. Although technically Joan is probably too old to play Lane, she looks exquisite and no one else could handle this material like Joan. Although she didn't dominate the screentime like she did in Mildred Pierce, this is still very much her film and you should see this one for Crawford. Even though everything else holds its weight. That's why Joan is an effective centerpiece for this film. Recommended for purchase.