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Similar to The Lost Moment
In a long flashback, a New York publisher is in Venice pursuing the lost love letters of an early-19th-century poet, Jeffrey Ashton, who disappeared mysteriously. Using a false name, Lewis Venable rents a room from Juliana Bordereau, once Jeffrey Ashton's lover, now an aged recluse. Running the household is Juliana's severe niece, Tina, who mistrusts Venable from the first moment. He realizes all is not right when late one night he finds Tina, her hair unpinned and wild, at the piano. She calls him Jeffrey and throws herself at him. The family priest warns Venable to tread carefully around her fantasies, but he wants the letters at any cost, even Tina's sanity.
Lewis Venable
Tina Bordereau
Juliana Borderau
Amelia
Father Rinaldo
Charles Russell
Pietro
Maria
Vittorio
Dead among the living and living among the dead. The Lost Moment is directed by Martin Gabel and adapted by Leonardo Bercovici from the Henry James novel, The Aspern Papers. It stars Robert Cummings, Susan Hayward, Agnes Moorehead and Eduardo Ciannelli. Music is by Daniele Amfitheatrof and cinematography by Hal Mohr. Lewis Venable (Cummings) is a publisher who travels to Venice in search of love letters written by poet Jeffrey Ashton. Insinuating himself into the home of the poets lover and recipient of the letters, Juliana Bordereau (Moorehead), Venable finds himself transfixed by the strangeness of the place and its inhabitants, one of which is Juliana's off kilter niece, Tina (Hayward). A splendid slice of Gothicana done up in film noir fancy dress, The Lost Moment is hauntingly romantic and ethereal in its weirdness. It's very talky, so the impatient should be advised, but the visuals and the frequent influx of dreamy like sequences hold the attention right to the denouement. The narrative is devilish by intent, with shifting identities, sexual tensions, intrigue and hidden secrets the orders of the day. Cummings is a little awkward and his scenes with Hayward (very good in a tricky role) lacks an urgent spark, while old hands Moorehead (as a centenarian with an outstanding makeup job) and Ciannelli leave favourable marks in the smaller roles. Mohr's (The Phantom of the Opera) photography is gorgeous and bathes the pic in atmosphere, and Amfitheatrof's musical compositions are powerful in their subtleties. As for Gabel? With this being his only foray into directing, it stands as a shame he didn't venture further into the directing sphere. 7/10
When opportunistic publisher "Lewis Venable" (Robert Cummings) sets out to track down some long-lost love letters from recently re-discovered poet "Jeffrey Ashton", he ends up in a Dickensian-style mansion house where the writer's former mistress, the very elderly "Juliana" (an almost unrecognisable Agnes Moorhead) dressed in black, sits in her chair most of the time with frustrated daughter "Tina" (Susan Hayward) tightly wound up living the life of a caged bird. Rather than come clean about his motives, "Venable" poses as a novelist to ingratiate himself with the women - but soon, is embroiled in a complex intrigue involving the two ladies and the letters. Hayward is super - she exudes an eeriness and almost schizophrenic charisma as the young woman who seems caught in a time loop unsure as to whether she is "Tina" or her own mother. The haunting music from Daniele Amfitheatrof (and a tiny bit of Caruso too) helps build the tension carefully and effectively as the significance of the letters becomes more evident and poignant to the predicament of the women - and increasingly, their guest. Cummings is OK, he has an innate blandness about him to watch, but he has a good script to work with and good to foil to act with, and the pot stays boiling til very near the end.
November 21, 1947
Lewis Venable
Tina Bordereau
Juliana Borderau
Amelia
Father Rinaldo
Charles Russell
Pietro
Maria
Vittorio
Dead among the living and living among the dead. The Lost Moment is directed by Martin Gabel and adapted by Leonardo Bercovici from the Henry James novel, The Aspern Papers. It stars Robert Cummings, Susan Hayward, Agnes Moorehead and Eduardo Ciannelli. Music is by Daniele Amfitheatrof and cinematography by Hal Mohr. Lewis Venable (Cummings) is a publisher who travels to Venice in search of love letters written by poet Jeffrey Ashton. Insinuating himself into the home of the poets lover and recipient of the letters, Juliana Bordereau (Moorehead), Venable finds himself transfixed by the strangeness of the place and its inhabitants, one of which is Juliana's off kilter niece, Tina (Hayward). A splendid slice of Gothicana done up in film noir fancy dress, The Lost Moment is hauntingly romantic and ethereal in its weirdness. It's very talky, so the impatient should be advised, but the visuals and the frequent influx of dreamy like sequences hold the attention right to the denouement. The narrative is devilish by intent, with shifting identities, sexual tensions, intrigue and hidden secrets the orders of the day. Cummings is a little awkward and his scenes with Hayward (very good in a tricky role) lacks an urgent spark, while old hands Moorehead (as a centenarian with an outstanding makeup job) and Ciannelli leave favourable marks in the smaller roles. Mohr's (The Phantom of the Opera) photography is gorgeous and bathes the pic in atmosphere, and Amfitheatrof's musical compositions are powerful in their subtleties. As for Gabel? With this being his only foray into directing, it stands as a shame he didn't venture further into the directing sphere. 7/10
When opportunistic publisher "Lewis Venable" (Robert Cummings) sets out to track down some long-lost love letters from recently re-discovered poet "Jeffrey Ashton", he ends up in a Dickensian-style mansion house where the writer's former mistress, the very elderly "Juliana" (an almost unrecognisable Agnes Moorhead) dressed in black, sits in her chair most of the time with frustrated daughter "Tina" (Susan Hayward) tightly wound up living the life of a caged bird. Rather than come clean about his motives, "Venable" poses as a novelist to ingratiate himself with the women - but soon, is embroiled in a complex intrigue involving the two ladies and the letters. Hayward is super - she exudes an eeriness and almost schizophrenic charisma as the young woman who seems caught in a time loop unsure as to whether she is "Tina" or her own mother. The haunting music from Daniele Amfitheatrof (and a tiny bit of Caruso too) helps build the tension carefully and effectively as the significance of the letters becomes more evident and poignant to the predicament of the women - and increasingly, their guest. Cummings is OK, he has an innate blandness about him to watch, but he has a good script to work with and good to foil to act with, and the pot stays boiling til very near the end.
