| DVD cover artwork for Douglas Sirks' Lured. [click photo for larger version] |
Lured ventures into the same territory mined by film noir. But director Douglas Sirk keeps the mood relatively light and brisk. As a result, Lured avoids the cynicism and determinism so common in noir thrillers. Lured contains some of the same visual motifs of film noir -- shadowy alleys, glistening streets, heavy stone buildings -- but Sirk instead aligns the drama with historical period pieces. Ball must walk down darkened streets, but the movie never conveys a great sense of menace. Avoiding low-key lighting (one of the hallmarks of film noir), Sirk opts instead for a romanticized view of London, as if the clock had been turned back to the turn of the century and Charles Dickens had been enlisted as a screenwriter. Viewed as a crime thriller, Lured is relatively light stuff. For example, once Ball enters Karloff's studio, the scene is brightly lit. Instead of hyping the scene with dramatic lighting, Sirk places the emphasis upon Karloff's eccentricities -- with comedy as a result. And when Sanders makes love talk to Ball at his ornate night club, the set resembles a Busby Berkeley creation.
Not surprisingly, Sirk would continue in a romantic vein for the remainder of his career, turning out such seminal women's pictures as Magnificent Obsession (1954) and All That Heaven Allows (1955). Sirk dabbled in the crime thriller genre again with Sleep My Love (1948) and Shockproof (1949). However, Lured is arguably his most fondly remembered movie from this early phase of his American career. It's a somewhat schizophrenic movie. It starts as a crime investigation yarn, turns into a noirish thriller, slips into glossy romanticism, and edges into Hitchcockian suspense. While plotwise Lured feels cobbled together, the parts come together in surprising ways. For example, the story plays out as a whodunit mystery, but the emphasis isn't upon surprising us with the identity of the killer. Instead, Sirk's camera subtly uncovers the killer as he reacts to a police search. Nervously peering from a window, the killer unwittingly allows his concern to belie his guilt. Uncovering the killer with half an hour of running time to go, Sirk then emphasizes the growing unease and instability caused by the proximity of the killer to Sandra (Ball).
While Lured isn't one of Sirk's best movies, it's a wonderfully entertaining (if somewhat slight) venture. Presented in a pristine DVD transfer by Kino International, Lured is a superb example of Sirk's developing Hollywood style and a fond reminder of Lucille Ball's ability as a dramatic actress.