SYNOPSIS: The Strange Love of Martha Ivers (1946) is a film noir directed by Lewis Milestone, featuring Barbara Stanwyck, Van Heflin, Lizabeth Scott, and Kirk Douglas in his film debut. The story begins in a small American town in 1928, where a young Martha Ivers (played by Janis Wilson) is involved in a tragic incident that changes the course of several lives. Martha, the heiress to a wealthy family, is desperate to escape her oppressive aunt (Judith Anderson) and controlling upbringing. A fateful night leads to a confrontation with Walter O'Neil (Mickey Kuhn), and a childhood friend, Sam Masterson (Darryl Hickman). When Martha's aunt is accidentally killed during a struggle, a chain of deception and guilt is set in motion.

Flash forward to 1946, Martha (now played by Barbara Stanwyck) is married to Walter (Kirk Douglas), who has used the circumstances of the past to build a political career. Sam (now played by Van Heflin), having returned to town, rekindles his connection with Martha and uncovers the dark secrets buried beneath the surface. Lizabeth Scott plays Toni Marachek, a femme fatale with a troubled past who becomes entangled in the web of lies and deceit surrounding Martha and Walter. As tensions escalate and old wounds reopen, the film delves into themes of power, betrayal, and the consequences of choices made long ago.

Throughout the narrative, The Strange Love of Martha Ivers masterfully intertwines elements of film noir with psychological drama, exploring the complexities of relationships and the haunting grip of the past on the present. Lewis Milestone's direction and the performances of the cast, particularly Stanwyck's portrayal of the enigmatic Martha and Douglas' debut as the ambitious Walter, contribute to the film's gripping atmosphere. The plot unfolds with twists and revelations, culminating in a dramatic climax that confronts the characters with their past actions and choices. As a quintessential film noir of the era, The Strange Love of Martha Ivers remains a compelling exploration of love, ambition, and the dark undercurrents of human nature.

PLOT Spoiler Alert: The film begins in 1928 in the small industrial town of Iverstown. Young Martha Ivers (Janis Wilson), an orphan living with her domineering aunt (Judith Anderson), tries to run away with her friend Sam Masterson (Darryl Hickman). They are caught and brought back. That night, Martha's aunt confronts her, and in a fit of rage, Martha strikes her aunt, causing her to fall down the stairs to her death. Walter O'Neil (Mickey Kuhn), the son of the family tutor, witnesses the incident and, under his father's influence, corroborates Martha's claim that an intruder killed her aunt.

Years later, Martha (Barbara Stanwyck) has inherited her aunt's fortune and married Walter (Kirk Douglas), who is now the district attorney. The marriage is a loveless arrangement based on mutual dependence and the shared secret of the aunt's murder. Walter, now an alcoholic, is deeply insecure and feels trapped by Martha's manipulation and their dark past.

Sam Masterson (Van Heflin), now a drifter and small-time gambler, returns to Iverstown by chance after a car accident. He encounters Toni Marachek (Lizabeth Scott), a troubled young woman on probation, and the two develop a bond. When Sam visits his old childhood home, he is reminded of his past with Martha.

Martha and Walter are alarmed by Sam's return, fearing he might remember the truth about the night of the murder. Martha, still in love with Sam, tries to rekindle their relationship, but Sam is wary and reluctant to get involved. Walter, paranoid and desperate, concocts a plan to frame Sam for a crime to get rid of him.

As Sam digs deeper into the town's history and reconnects with old acquaintances, he becomes suspicious of Martha and Walter's intentions. He learns about their unhappiness and the true nature of their relationship. Toni is arrested on a parole violation, and Martha uses this opportunity to manipulate Sam, offering to help Toni in exchange for his silence and cooperation.

Sam eventually confronts Martha about the murder. She confesses her guilt but tries to justify her actions, revealing her deep-seated fears and vulnerabilities. Walter, driven by jealousy and self-loathing, overhears their conversation and decides to take matters into his own hands. In a final confrontation, Walter attempts to kill Sam, but in the ensuing struggle, Walter is killed.

The film ends with Martha, realizing the extent of her manipulations and the toll it has taken on everyone around her, facing an uncertain future. Sam, having lost faith in Martha and seeing no future in Iverstown, decides to leave, taking Toni with him.

PRODUCTION: The Strange Love of Martha Ivers, a film-noir directed by Lewis Milestone and produced by Hal B. Wallis for Paramount Pictures, is a masterclass in cinematic storytelling. The screenplay, penned by Robert Rossen, was adapted from John Patrick's short story "Love Lies Bleeding" and features a complex narrative that explores the dark themes of power, betrayal, and the haunting grip of the past on the present.

The film boasts a stellar cast, including Barbara Stanwyck as Martha Ivers, who brings her trademark intensity to the character's complex portrayal. Van Heflin stars as Sam Masterson, Martha's childhood friend who returns to town and unravels long-buried secrets, while Lizabeth Scott makes her mark as Toni Marachek, a femme fatale entangled in the lives of Martha and Sam. Kirk Douglas makes his impressive film debut as Walter O'Neil, Martha's ambitious husband.

The film's cinematography, handled by Victor Milner, is a standout feature, capturing the film noir atmosphere with its use of shadowy lighting and evocative visuals. Miklós Rózsa's musical score perfectly complements the dark and moody tone of the film, creating a gripping and thought-provoking cinematic experience.

REVIEW: The Strange Love of Martha Ivers was released on July 24, 1946, at the Radio City Music Hall in New York City. The studio conducted a wide publicity campaign, releasing a series of stills and posters featuring the lead actors, including Barbara Stanwyck, who was prominently featured above the title on many advertisements. The film received generally positive reviews from critics, with many praising the performances of the cast, particularly Stanwyck and Van Heflin. The film was a moderate commercial success, earning approximately $2.2 million at the domestic box office. It was also released in the UK on January 13, 1947, and performed well there too, with a total gross of £125,000.

Today, "The Strange Love of Martha Ivers" is widely regarded as a classic film-noir, with many critics praising its complex narrative, strong performances, and atmospheric direction. The film has been recognized by various organizations for its historical significance, including its inclusion in the United States National Film Registry in 1994. The film's influence can be seen in many later films noir, including the works of directors like Billy Wilder and Fritz Lang.

CAST:

• Barbara Stanwyck as Martha Ivers

• Van Heflin as Sam Masterson

• Lizabeth Scott as Antonia “Toni” Marachek

• Kirk Douglas as Walter O'Neil

• Judith Anderson as Mrs. Ivers

• Roman Bohnen as Mr. O'Neil

• Janis Wilson as young Martha Ivers

• Darryl Hickman as young Sam Masterson

• Mickey Kuhn as young Walter O’Neil

• Ann Doran as Bobbi St. John

• Frank Orth as Hotel Clerk

• James Flavin as Detective #1

• Charles D. Brown as McCarthy

CREW:

• Director: Lewis Milestone

• Producer: Hal B. Wallis

• Writers: Robert Rossen (screenplay), John Patrick (story)

• Cinematographer: Victor Milner

• Editor: Archie Marshek

• Music: Miklós Rózsa

• Art Director: Hans Dreier, John Meehan

Production Company: Hal Wallis Productions
Distributor: Paramount Pictures

Release Date: July 24, 1946
Country of Origin: United States
Running Time: 116 minutes
Budget: Estimated $1.3 million
Box Office Return: $3.25 million

IMDB Rating =  7.4 / 10

TRIVIA:

• Kirk Douglas earned his film debut in this movie with the help of his friend Lauren Bacall, who suggested him to producer Hal B. Wallis. Bacall even encouraged Wallis to watch a play featuring Douglas, which impressed Wallis enough to cast him in the film.

• Van Heflin was on loan from MGM for this movie, having just returned from serving in World War II.

• Blake Edwards, a future writer, producer, and director, had an uncredited bit part as a sailor who hitches a ride with Sam Masterson (Van Heflin).

• The film marked Kirk Douglas's theatrical movie debut.

• Director Lewis Milestone had some disagreements with producer Hal B. Wallis during filming, including a reported dispute over re-shooting scenes for close-ups of Lizabeth Scott.

• According to Kirk Douglas's autobiography, a few days of the film were directed by uncredited Byron Haskin.

• Barbara Stanwyck had significant influence over her lighting and was known to be particular about not being upstaged. She even raised her skirt high and adjusted her garter when she saw Van Heflin's character perform a coin trick, making sure he wouldn't do it during her important lines.

• Stanwyck was not pleased when she was given equal billing with Lizabeth Scott, as she felt she was the star and deserved top billing. However, she later ran into Scott at a restaurant and hugged her affectionately, saying how much she enjoyed working with her on the film.

• Barbara Stanwyck does not appear in the first 30 minutes of the movie.   

• The car that Sam Masterson (Van Heflin) drives into Iverstown at the beginning of the movie is a 1942 DeSoto Custom Convertible.

• "The Screen Guild Theater" broadcast a thirty-minute radio adaptation of the movie on June 30, 1947 with Kirk Douglas reprising his movie role.

• "The Hedda Hopper Show - This Is Hollywood" broadcast a thirty-minute radio adaptation of this movie on April 12, 1947 with Van Heflin reprising his movie role.

• "Screen Director's Playhouse" broadcast a thirty-minute radio adaptation of this movie on June 23, 1950 with Barbara Stanwyck reprising her movie role.

"The Strange Love of Martha Ivers" remains a gripping film-noir from 1946, celebrated for its complex characters, suspenseful plot twists, and Barbara Stanwyck's compelling performance, continuing to captivate audiences with its exploration of ambition, betrayal, and dark secrets.