Kathy leaves the newspaper business to marry homicide detective Bill but is frustrated by his lack of ambition and the banality of life in the suburbs. Her drive to advance Bill's career soon takes her down a dangerous path.
Nick and his partner Al stage a payroll holdup. Al is shot and Nick kills a policeman. Nick hides out at a public pool, where he meets Peg Dobbs. They go back to her apartment and he forces her family to hide him from the police manhunt.
Kathy is a smart and tough 1950's advice columnist at a San Francisco newspaper, with her name plastered on billboards all over the city. One day, Bill Doyle, a Los Angeles detective, walks into her office - it is instant attraction. After marrying Bill, Kathy gives up her career and becomes a homemaker. However, she is not your typical 1950's homemaker. After hosting several cocktail parties in their San Fernando Valley home, she realizes that Bill is content with his position, and shows no ambition in furthering himself. Kathy will not sit idly by while everyone around her is "moving up in the world". She personally takes upon herself the task of pushing Bill's career along, even if it comes down to murder.Written by
"Love Story" and "The Deadly Triangle" were working titles. See more »
When Kathy calls Alice from the phone booth and hears she is leaving for Honolulu, the reflection of the cameraman is seen all through the scene on the back window of the booth (above left Kathy's head), and it moves as the camera pulls back. See more »
I hope all your socks have holes in them and I can sit for hours and hours darning them.
I um, I have other plans for you.
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From a sociological point of view, CRIME OF PASSION has much to offer. It is a rare instance of a film told from a very liberal (especially by 1950s standards) standpoint from this era of "I Love Lucy" doting housewives and such. Most young people today think all wives of the 1950s stood around wearing aprons and catering to their husbands. This film shows a marked contrast between what is perceived to be 1950s typical domestic life, and the quiet desperation which it may have actually hid, and how some women rebelled against the conventions of the time.
This film shockingly shows what happens to an independent woman when she is suffocated by the conventions of her time, in this case the late 1950s, when women were supposed to stay home and cook dinner for their husbands. In fact, there is a fascinating line early in the film when a police officer says just that! The film has a very clear thesis, and builds up adequately to move the viewer. Top notch in this film is the powerful performance of Barbara Stanwyck, still at her peak at this late date. The supporting cast leaves a lot to be desired (Sterling Hayden is awful, as always), the direction is merely average, and everything else is straight out of B-movie territory. That said, it is a fascinating early glimpse of feminism. It should be taught in all sociology classes.
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