Narrative implausibilities don’t matter too much in film noir as it is a genre that deals with often grim mental states rather than the ‘real world’. This is particularly true in the films from around the middle of the last century in America when Dr Freud’s ideas had passed, in some form or other, into the mainstream. That’s fortunate for Whirlpool as the way Charles Bickford’s lieutenant conducts his investigation more than beggars belief. Gene Tierney is mixed up in murder having been entangled by Jose Ferrer’s bad guy; Ferrer is brilliant in the role. The narrative allows the husband to question his wife in the presence of the cop, and vice versa, and this highlights the investigation is into a woman’s psyche rather than into crime.
Tierney’s husband (a miscast Richard Conte – he was a great heavy) is a psychiatrist so we can be sure that what ails his wife lurks in childhood. And it is this that makes the film particularly interesting as the psychological villain turns out to be patriarchy: her father and later her husband. There isn’t any ‘reading between the lines’ required to work this out for the film explicitly states this. Many noirs focused on male insecurity, particularly of veterans, and the femme fatales that brought them down. Whirlpool deals with female insecurity and the men that bring her down.
This insecurity manifests itself as an entirely patriarchal creation: the belief that women were weak and easily hysterical. Tierney’s character’s kleptomania also draws on the idea that women mentally were weak consumers.
Preminger restricts his use of chiaroscuro lighting and doesn’t offer expressionist angles but shoots the film efficiently enough. Arthur Miller’s cinematography looks great, as does Tierney even if her range as an actor was limited she does embody the part very well.