Lured is one of the films directed by Douglas Sirk in the 1940s after his arrival from Germany and before he began his long association with Universal. The production was put together by the independent producer Hunt Stromberg and distributed through United Artists in North America and the UK. Although filmed primarily on a studio lot in Hollywood, the film is in many ways a European production. It appears to be a remake of a French original Pièges (1939) directed by Robert Siodmak before he too went to Hollywood. The French film was given an English title of Personal Column and after its release, in the US, Lured was re-titled as Personal Column because the Production Code Office decided that ‘Lured’ was too much like ‘Lurid’! The UK release used Personal Column. Sirk judged that the title change was responsible for the film’s relative failure at the box office after a strong start.
Fortunately, the film has been restored and is now available on Blu-ray (along with A Scandal in Paris (1946), also by Sirk) from the Cohen Group (See the trailer below). It turns out to be highly entertaining and both witty and a genuine noir thriller. It features a lead performance by the fabulous Lucille Ball who has never looked lovelier or sparkled with such vitality and intelligence. She also gets to wear some great costumes. Stromberg surrounded her with an outstanding cast that would not have been out of place in an A List major studio picture. George Sanders, Charles Coburn, Cedric Hardwicke and Boris Karloff are joined by several of the other ‘Brits in Hollywood’. The film is photographed by the great William Daniels and the music is by Michel Michelet from the French original. Production design is by the Russian Nicolai Remisoff and the script was adapted from the French by the Polish émigré Leo Rosten. The narrative is set in London with Sandra (Lucille Ball) down on her luck and working as a ‘taxi dancer’ in a seedy dance hall after her American touring theatre show (she was a dancer) collapsed. When her friend Lucy goes missing after answering a ‘personal ad’ in the newspaper, Sandra goes to the police and finds herself being offered a job as a police detective by Charles Coburn’s Inspector. A serial killer is sending poems in the style of Baudelaire to Scotland Yard and each one signals a young woman’s disappearance. Sandra must answer any personal ads looking for young women, in the hope of ‘luring’ the killer out. Officer Barrett (a nicely-judged performance by George Zucco) is watching her all the time. Eventually, Sandra meets Robert Fleming (George Sanders), a nightclub owner looking to expand his business. She’s already come across him as looking for girls for his club. Is he to be trusted? Sandra takes to him, but are we sure he is kosher?
Sirk liked this production very much. Stromberg gave him a free hand and Sirk appreciated all the talent he had to play with – and in return, Lucille Ball and Charles Coburn relished the chance to play roles in a crime film. Sirk had worked with George Sanders on two previous American pictures and Sanders and Ball make a good couple. Hardwicke is excellent as Fleming’s partner in the club business. The studio sets are beautifully lit and this works as a noirish London serial killer narrative with Gothic overtones, enhanced by the sequence featuring Boris Karloff. I have been able to view both the version on YouTube and the trailer for the restoration/new print on DVD and to watch a version of the film on Talking Pictures TV. This latter is odd in a couple of respects. First, it appears to have lost 5 minutes at the beginning but which turns out to be not particularly a problem. Secondly, and weirdly, all the newspapers, poems and handwritten notes in the film are in French. The film also ends with the traditional French ‘FIN’. I don’t understand this at all. The film does use some stock footage of Piccadilly Circus and a London bus but why substitute the English language close-ups of newspapers etc. with French versions? The only explanation I can think of is that Talking Pictures TV have got hold of a French release copy of the film with the subtitles removed? If anyone knows the real answer, please comment on this post.
None of the quirks of the version I saw on Talking Pictures TV spoiled the film for me. I found it well worth watching and Lucille Ball was wonderful. It wasn’t what I was expecting from Sirk, but it stands up as a stylish Sirkian production.