No more word to say, a must see for all cine fans. A fantastic storyboard, an a brillant spectacle performance. This movie has all: dramaturgy, crime, romance, suspense and an insight into the wickedness of humanity.

The often filmed Alexandre Bisson play had been through various variations (including two talking pictures) when Ross Hunter pulled this rabbit out of his tear stained hat for Lana Turner's final "A" picture before she moved down, down, down the ladder of movie stardom. Having already had her pull a Fanny Hurst (with "Imitation of Life"), Hunter went way out of his way for a lavish treat that reeks of the later prime-time soaps where faded movie stars (such as Turner and her leading man John Forsythe) made tremendous come-backs.Forsythe is a blue-blooded Bridgeport Connecticut diplomat, returning from his honeymoon with his beautiful bride (Turner), graciously greeted by his elegant mother (the still gorgeous Constance Bennett) who immediately throws them a huge society gala since she was unable to plan the lavish wedding she had wanted for her only child. It is at this party where the audience first glimpses Bennett's antipathy towards her new daughter-in-law, looking on in concern as Turner is swept away by the romantic Latin Lothario Phil Benton (Ricardo Montalban) who is notorious amongst lonely society ladies and begins to squire Turner around while Forsythe is away on diplomatic business. It explodes when Turner tries to break off with the future Mr. Rourke, finding no Fantasy Island with his possessiveness. An accidental fall down the stairs results in a broken neck and a tongue-lashing from the mother-in-law who had seemed so Brooke Astor before being revealed to be more like Rose Kennedy. Banishment follows with Turner being presumed dead, and even with an annual allowance from Bennett, Turner sinks into degradation, desperately missing her young son.After breaking the heart of a renowned musician (John Van Dreelen), Turner ends up in Mexico where now a drunk Turner (with caterpillar like eyebrows) is rescued from whiskey withdrawal and an angry landlord by the opportunistic Burgess Meredith. He discovers her secret past and arranges for them to go to New York where Turner turns to murder to keep her secrets and to protect her son. On trial for killing the sleazy Penguin, it is none other than her own son (Keir Dullea in a heart-felt performance) who defends her, and when a gray haired Forsythe and white haired Bennett show up in court, the truth is threatened to be revealed.Dramatic music by Frank Skinner highlights the emotions of this weeper where unless your nickname is Scrooge, you are destined to start balling. Fascinating silent reactions in court by Forsythe and Bennett add to the dramatic tension, as does Dullea's emotional involvement in the case. No expense seems to be spared in the elegant settings, and everything is appropriately lush and dramatic. Turner's performance goes from slightly insecure bride to lonely wife to lost soul, and when she turns up in Mexico looking even older than a blowzy Joan Blondell or Ann Sothern, the effect is shocking. Her drunk scenes are fascinating, and she will wow you in the emotional court scenes. Montalban and Meredith are appropriately sleazy, and Forsythe is as elegant (if not as hot tempered) as he was as Blake on "Dynasty". Frank Maxwell, best remembered for his role as the compassionate hospital administrator for years on "General Hospital", is very good as the New York doctor (presumably at the Tombs) who treats Turner and stands by her throughout the trial.However, the acting honors to to the understated Constance Bennett who appears almost to be Turner's contemporary in the first half hour. While I would have loved to have seen Hunter's first choice (Kay Francis) in this part, I was very impressed with Ms. Bennett. Sadly her swansong (as she passed away prior to the premiere), Bennett makes a lasting impression that you'll never forget. While there are many elements in the film that could be considered preposterous or melodramatic, there are many that are satisfying and emotional moments that make this a must-see, a repeat viewer and ultimately, one of the classic cult films to come out of the 1960's.

This time, in addition to being a glamour puss, Lana gets to deconstruct her image and replace it with a different artifice, which is a lot more fascinating than what's going on with the story. Though the ending is pure tearjerker, it doesn't compare to the waterworks at the finale of "Imitation of Life." And for a juicy wallow in unintentional humor, you can't beat "Portrait In Black" (Navigating the coast highway without ever having driven a car!). But there's enough here to feast your eyes on while plausibility is being stretched to its limit. Though the film purports to cover about twenty years, Miss Turner (and everyone else) looks pure 1966 in every shot. But that's the point of watching this film – endearingly entertaining for all the wrong reasons.

That Lana Turner played her beauty down so much in this movie, that she acted like a dream - this is the real Lana Turner. She was marvelous. This movie is a heart breaker. That darling son that defends her, not knowing she was his mother, and yet, had an instinct? This is Hollywood and Lana Turner at their finest. If you want true soap opera and none of the tripe, go for this. John Forsythe, Constance Bennett? Even they are tearing up at Lana's performance. Marvelous is all I can say. Marvelous!!!! I loved Lana Turner when she was younger, but her later movies such as this and Peyton Place? She was and will always be fantastic.