IMDb RATING
6.8/10
1.7K
YOUR RATING
A noblewoman begins to lead a dangerous double life in order to alleviate her boredom.A noblewoman begins to lead a dangerous double life in order to alleviate her boredom.A noblewoman begins to lead a dangerous double life in order to alleviate her boredom.
Enid Stamp-Taylor
- Lady Henrietta Kingsclere
- (as Enid Stamp Taylor)
Peter Madden
- Hawker
- (as Peter Maddon)
Storyline
Did you know
- TriviaBoth Margaret Lockwood and Patricia Roc were brought back to Gainsborough to re-shoot some of their scenes with less revealing décolleté versions of their wardrobe (appropriate for the era portrayed). Despite this, The Wicked Lady (1945) was the very first British film to be cut by Hollywood censors due to leading lady Margaret Lockwood's still remaining revealing cleavage. It was a problem Jane Russell also had in "The Outlaw" (1943). TCM sometimes airs the original, uncensored version on its USA cable network. Margaret Lockwood said "We had to do nine days of re-takes to satisfy the censor on that film and it all seemed very foolish." Mason said "I don't like it now," referring to the film after the changes.
- GoofsThe wedding scene shows two musicians playing clarinets. The clarinet wasn't invented until 1690. The movie takes place in the 1680s.
- Quotes
Lady Henrietta Kingsclere: Barbara, are you trying to make a fool of me?
Barbara Worth: Of course not. There's no need.
- Alternate versionsThe first USA release version differed from the original UK version by substituting footage with higher necklines on some women's costumes.
- ConnectionsFeatured in The World According to Smith & Jones: The Napoleonic Wars (1987)
Featured review
The sexes divided
Judging by the IMDb ratings breakdown for this film, sixty years after its production it remains very much "a women's movie" with female opinion rating it vastly higher than the male across every age group; fascinating to see how the divide still lingers! For my own part, I've always enjoyed the Gainsborough melodramas, and this is probably the best of them thanks to its wonderfully acerbic script.
This style of film is basically the screen equivalent of the classic paperback 'bodice-ripper', with heaving bosoms, witty ripostes and dastardly deeds a-plenty -- which probably accounts for the sex divide. On the other hand, I'd have thought it had a good deal to appeal to the average male viewer... Frankly, I'm not surprised that this picture fell foul of the American censors (a fate shared with various other dramas set in morally dubious eras) in the 1940s: it's not just a matter of the amount of cleavage on display or of the protagonist's flagrantly shocking morals (since these are rewarded in appropriate fashion), but of the racy tinge to a lot of the dialogue.
I think it's the dialogue that makes this film really shine. Where "The Man in Grey" has a tendency to moralise or lumber, "The Wicked Lady" has a sparkling streak of humour almost throughout; watching it in the cinema, you realise for the first time just how many laughs there are as they sweep across the audience. But it also benefits from a galaxy of strong female stars, from the minor parts to the two leading roles: Patricia Roc pulls off the difficult trick of making her gentle, idealistic character both sympathetic and believable when faced with the formidable opposition of Margaret Lockwood's beautiful, amoral Barbara. Barbara as anti-heroine almost takes over the film, and manages to attract our sympathies to the extent that we find ourselves willing her deception of old Hogarth to succeed -- but ultimately she goes too far. Too far for Jerry Jackson, and too far for this viewer at least to feel anything but vicarious satisfaction as her 'bittersweet' ending turns entirely bitter. The Wicked Lady is bad -- bad to the bone.
My main gripe with the film, ironically, is with the happy outcome as shown, after the high emotions and dark ironies that have led up to the finale. I don't hold any grudge against the lovers at all -- it's obvious that all is going to turn out well once the truth is out in the open, and I'm all in favour of their union -- but the way that it is heavy-handedly interjected into the final frames of the picture creates a virtually bathetic anti-climax. That particular outcome really might have been taken for granted, rather than pasted on thickly at precisely the wrong moment...
This style of film is basically the screen equivalent of the classic paperback 'bodice-ripper', with heaving bosoms, witty ripostes and dastardly deeds a-plenty -- which probably accounts for the sex divide. On the other hand, I'd have thought it had a good deal to appeal to the average male viewer... Frankly, I'm not surprised that this picture fell foul of the American censors (a fate shared with various other dramas set in morally dubious eras) in the 1940s: it's not just a matter of the amount of cleavage on display or of the protagonist's flagrantly shocking morals (since these are rewarded in appropriate fashion), but of the racy tinge to a lot of the dialogue.
I think it's the dialogue that makes this film really shine. Where "The Man in Grey" has a tendency to moralise or lumber, "The Wicked Lady" has a sparkling streak of humour almost throughout; watching it in the cinema, you realise for the first time just how many laughs there are as they sweep across the audience. But it also benefits from a galaxy of strong female stars, from the minor parts to the two leading roles: Patricia Roc pulls off the difficult trick of making her gentle, idealistic character both sympathetic and believable when faced with the formidable opposition of Margaret Lockwood's beautiful, amoral Barbara. Barbara as anti-heroine almost takes over the film, and manages to attract our sympathies to the extent that we find ourselves willing her deception of old Hogarth to succeed -- but ultimately she goes too far. Too far for Jerry Jackson, and too far for this viewer at least to feel anything but vicarious satisfaction as her 'bittersweet' ending turns entirely bitter. The Wicked Lady is bad -- bad to the bone.
My main gripe with the film, ironically, is with the happy outcome as shown, after the high emotions and dark ironies that have led up to the finale. I don't hold any grudge against the lovers at all -- it's obvious that all is going to turn out well once the truth is out in the open, and I'm all in favour of their union -- but the way that it is heavy-handedly interjected into the final frames of the picture creates a virtually bathetic anti-climax. That particular outcome really might have been taken for granted, rather than pasted on thickly at precisely the wrong moment...
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- Igenlode Wordsmith
- Jan 30, 2008
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Details
Box office
- Budget
- £900,000 (estimated)
- Runtime1 hour 37 minutes
- Color
- Aspect ratio
- 1.33 : 1
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