Directed
by Anthony Mann
Screenplay
by Mindret Lord
Based on
a story by Anne Wigton, Lewis Herman
Music by
Alexander Laszlo
Edited by
John F. Link, Sr.
Cinematography
by Robert Pittack
Brenda Marshall as Dr. Nora Goodrich
William Gargan as Dr. Stephen
Lindstrom
Hillary Brooke as Arline Cole
George Chandler as J. W. Rinse,
attorney
Ruth Ford as the real Jane Karaski
H. B. Warner as Dr. Mansfield,
plastic surgeon
Lyle Talbot as Inspector Malloy,
chief interrogator
Mary Treen as the nurse
Cay Forester as Roper, receptionist
and interrogation witness
Dick Scott as the detective
Distributed
by Republic Pictures
Produced
by W. Lee Wilder Productions
Strange
Impersonation is a strange film on
many levels. Even the title is a bit strange. The film is categorized as a
dramatic film noir, but it borders on science fiction: The main character, Doctor
Nora Goodrich, has invented a new anesthetic and needs to discover its effects
on humans. She and her lab assistant, Arline Cole, conduct the latest experiment
in Nora’s apartment—on Nora herself. (Did many scientists experiment on
themselves in 1946?) The film has plenty of noir characteristics, however: a
scheming femme fatale, blackmail, a fatal fall from Nora’s balcony, characters
assuming false identities.
The
opening credits are very simple: white type on a black background. Many films
noir are low-budget B films, but this one took simplicity to the maximum. The film
starts with an overhead shot of New York City, then cuts to an exterior shot of
the Wilmott Institute for Chemical Research. (I did an online search for
“Wilmott Institute” but couldn’t find anything in New York City, past or
present.) The film then cuts to Doctor Nora Goodrich giving a presentation at
the institute about her new anesthetic.
Stephen Lindstrom, Nora’s fiancé,
also works at the Wilmott Institute. He is in the audience and rushes to
congratulate Nora on her presentation. Lindstrom is shown as the more ardent of
the pair. He pursues Nora relentlessly and chides her about her professional
demeanor. I can’t say that I blame him: There’s a rather comical scene in
Nora’s living room, with Nora and Stephen sitting on her couch. He wants to
steer the conversation to romance, but Nora responds to Stephen’s every
conversation starter with intellectual prowess and knowledge.
Nora is focused on her science
research (understatement!), and she sees no reason to include Stephen in her
work. She would rather work with her lab assistant because the arrangement is
much less complicated. In fact, Nora wants to keep her experiments secret from
Stephen. The tension in the film comes partly from the romance versus science
dichotomy: The film presents the choice as a pure dichotomy—for Nora. Stephen
never faces this choice. He’s not a participant in the conversation when the
subject comes up between Nora and Arline:
• Arline: “. . . Oh, Nora?”
• Nora: “Yes?”
• Arline: “When are you and Stephen going to marry?”
• Nora: “Oh, I don’t know. We haven’t made up our minds yet.”
• Arline: “You want to marry him, don’t you?”
• Nora: “Of course, I do. Why do you ask?”
• Arline: “I was just wondering.”
• Nora: “Why?”
• Arline: “Oh, I was wondering if I’d like working in a lab so much that
I’d delay my marriage. And I don’t think so.”
• Nora: “Well, I guess that’s something we have to make up our own minds
about. See you tonight, huh?”
• Arline: “Okay.”
(This blog post about Strange
Impersonation contains spoilers.)
Nora’s experiment, in which she and
Arline inject her with her new, untested anesthetic, becomes a horrible
nightmare—literally. Arline apparently attempts to botch the experiment and
harm Nora because she has decided that she wants Stephen for herself, and she
does everything possible to win him over. She lies to Stephen; she lies to
Nora. She uses their love for one another and their good instincts about each
other to manipulate them both. Her machinations are squirm-inducing, but I was
hooked: With one plot twist after another, I had no idea what to expect.
Nora’s ordeal comes to an end when
she wakes up on her living room couch and finds Stephen trying to rouse her.
Arline left after Nora took the injection, at the same time that Stephen
arrived. All of the nightmare was apparently the result of taking the
anesthetic. Stephen tells Nora that she never should have tried the anesthetic
on herself, which is obvious to everyone except Nora. But her nightmare taught
her one valuable 1940s postwar lesson: Marry Stephen. Nora is now desperate to do
just that.
This film seems incredibly
dated to me, someone watching it from the perspective of life in 2019. I
wondered about the title: Strange Impersonation. Nora undergoes plastic surgery
in the film to take on the identity of another character, so that’s an obvious
source for the title. But is it also a reference to Arline’s role in Nora’s
anesthetic-induced nightmare? Is it a brief commentary on Nora’s wish to be a
successful research scientist, which is a “strange impersonation” for a woman
in the postwar era, whose only business should be finding a mate and bearing
children?
With all that Nora
goes through, the overarching theme seems to be that Nora needs to come to her
senses and marry her boyfriend Stephen Goodrich because that is what women ought
to do. They certainly were encouraged to do that after World War II. Returning
service members needed jobs, and women taking these jobs during the war needed
to leave them in peacetime and make room for the men, the veterans.
Blue Sky
Metropolis, a
four-part documentary on PBS, focuses specifically on wartime industrial
production and the peacetime transition to the flight and aerospace industries in
California, but it also mentions the effects of these changes and attitudes on
women and children. Click here for more information.
Strange
Impersonation shows women that
they have only two choices: a professional career full of loneliness—maybe even
danger—or marriage. The film has two female leads, and much of the plot centers
on their work and their intrigues, but it all leads to Nora running to Stephen
in the end. So maybe Strange Impersonation really is more noir than
drama: It paints a rather bleak picture about women’s options after World War
II.
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