Very loosely based on "The Aspern Papers" by Henry James, it involves a publisher, Lewis Venable (Robert Cummings), who is obsessed with getting control of and publishing the love letters of poet Jeffrey Ashton, who disappeared in Venice decades ago. The love letters had allegedly been written to Juliana Bordereau, still living in Venice, now very elderly to the point that she cannot move from her chair and claims she never sleeps. Having written to Juliana, she claims that the letters do not exist, but Lewis is not satisfied. So he comes to the Bordereau household under a false name claiming to be a novelist who wants to write his next work in their home because of its atmosphere. The Bordereaus exact a steep price for the rent, but Lewis agrees to it. It seems like this would tip off the Bordereaus to possible ulterior motives, but I digress.
The house is largely dark and very uninviting, as is Juliana's niece, Tina (Susan Hayward), who runs the household with an iron fist and is too young to be an actual niece of Juliana's since Tina is only in her 20s. The rudeness and even latent anger of Tina, the weird piano music that plays at night from an unknown location, the haunting score, and even the fact that Tina, when signing the lease agreement with Lewis, signs for both herself and Juliana simultaneously, and does so with completely different handwriting, really stirred my interest. But then the explanations arrive and it is all very ordinary.
Still it is very atmospheric, and it was a new experience to see Joan Loring, often playing cocky cockneys, give a performance as a housekeeper in perpetual terror of Tina.
The house is largely dark and very uninviting, as is Juliana's niece, Tina (Susan Hayward), who runs the household with an iron fist and is too young to be an actual niece of Juliana's since Tina is only in her 20s. The rudeness and even latent anger of Tina, the weird piano music that plays at night from an unknown location, the haunting score, and even the fact that Tina, when signing the lease agreement with Lewis, signs for both herself and Juliana simultaneously, and does so with completely different handwriting, really stirred my interest. But then the explanations arrive and it is all very ordinary.
Still it is very atmospheric, and it was a new experience to see Joan Loring, often playing cocky cockneys, give a performance as a housekeeper in perpetual terror of Tina.