Diagonaldi Very well executed

VividSimon Simply Perfect

Kaelan Mccaffrey Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

Kinley This movie feels like it was made purely to piss off people who want good shows

Benedito Dias Rodrigues The story is completelly unbelievable to start,a lack o authenticity crumble the plot a low degree,nevertheless still intereresting as entertaiment it's works a lot neither Nina Foch quite often has done a good acting,another point to discuss is about the lenght of the movie,it's too short to tell a story fullness,but it was an acceptable works which should be more development prior to be shooting!!!Resume:First watch: 2018 / How Many: 1 / Source: DVD / Rating: 7.25

Alex da Silva Nina Foch (Julia) is down on her luck. She owes 3 weeks rent and hasn't got a job. Her love life is also empty although she is friendly with ex-boyfriend Roland Varno (Dennis). We are thrust straight into her ordeal once she applies to be secretary for wealthy Dame May Witty (Mrs Hughes).The film goes from mystery to thriller whilst all the while keeping the suspense and evoking a noirish feel. Don't look for holes in the story, just go with it. The cast are excellent and we have a lead character who thankfully, is not a wimp. Nina Foch is continually fighting back which puts the audience on her side. It's quite disturbing how easily her life is turned upside down and threatened.Years ago, I worked at a market research company and one day, Billy didn't turn up to his shift. No-one knew where he was. This was unusual especially as the survey we were conducting was about sexual habits and he loved that kind of thing. When he finally appeared the next day, it turned out that he had been tied up in a dungeon. Not as a kidnap victim but for his own pleasure. Still, it highlights how easily one can be thrown off kilter from one's normal routine. Nina Foch fights back from her dungeon in this one.

Spikeopath My Name Is Julia Ross is directed by Joseph H. Lewis and adapted to screenplay by Muriel Roy Bolton from The Woman in Red written by Anthony Gilbert. It stars Nina Foch, Dame Mary Witty, George Macready, Roland Varno, Anita Sharp-Bolster and Doris Lloyd. Music is by Mischa Bakaleinikoff and cinematography by Burnett Guffey. Julia Ross (Foch) out of work and in debt arrears to her landlady, hastily accepts a in-house secretarial position to Mrs. Hughes (Whitty). Starting work in the Hughes house in London the first night, she wakes up two days later in a cliff-top mansion in Cornwall. She is told she has been away with mental health problems, her name is Marion Hughes and she is married to Ralph Hughes (Macready)...A very important film in the career of the great Joseph H. Lewis, My Name is Julia Ross would effectively put the director on the map, with noir fans subsequently rewarded with the likes of Gun Crazy and The Big Combo. Compact in running time (65 minutes) and budget, it's a film that showcases just what real good work could be achieved by a director and photographer noir team working under tight restrictions; classical noir production if you like.Story as it is is pretty straightforward and familiar, but atmosphere and visual smartness ensure this is no walk down retread lane. It falls into the Gothic noir spectrum of films, following in the traditions of Rebecca, Gaslight and Suspicion. In fact, it's also very much "old dark house" on staple terms, with eerie staircase, wood panelled rooms, secret passageways and even a black cat. While the setting, house on a seaside cliff where the mist rolls in at night, is splendidly moody.The characterisations (very well performed by the cast) are vivid and odd, with us clearly meant to note that Julia Ross is clearly the only normal being in the Hughes household! Best of the bunch is Macready's Ralph Hughes, the catalyst for all the things that are happening, he fondles his knives like a fetishist, a truly memorable noir antagonist.Ultimately it's what Lewis and Guffey bring to the fore that makes the film better than it is on the page. Expressionistic touches are here of course, but it's the skew-whiff camera placements and up close POV shots that bring the viewer into Julia's confused new world. Memorable scenes are frequent, be it a rain sodden street or Julia peering through the bars of her bedroom, there's visual treats aplenty here.The ending is all to quick and as is often the case in this type of narrative, implausibilities need to be ignored. But that is easy to do, because with atmosphere unbound and not a shot wasted, this is a safe recommendation to the Gothic noir faithful. 8/10

Robert J. Maxwell As Julia Ross, a young Nina Foch is the mostly rootless American in London who is hired by a nefarious mother and son, Dame May Witty and George Macready, as a secretary. On her first visit, she's drugged and awakens two days later in a stone mansion in Cornwall. Her clothes and ID have been destroyed and she's been given a new identity. She finds she is now Mrs. Marian Hughes, Macready's wife.She's kept from leaving, held prisoner, in fact, and soon learns that the Hughes plan to kill her and make it look like suicide because, in fact, Macready, a madman, has already stabbed his real wife to death and disposed of her body in the sea. This leaves something of a hole in the social fabric and they're going to plug it with Foch's fake suicide.It's a short movie. It really resembles one of the mystery radio dramas that were popular at the time of its release, with names like "The Whistler" and "Inner Sanctum." Nina Foch is a decent actress with pleasant, even features, but not a stunning beauty in the usual Hollywood tradition. She doesn't have the kind of face you want to fall into, but rather paint, or at least run your fingers over and tweak. George Macready, whatever his role, always comes across as more or less the same character -- a Prussian officer with a smooth voice and a face with a Schmiss from sabre fights in a Heidelberg gym. Dame May Witty is much better at likable roles instead of villainy. She was most enjoyable as the lady who vanished on Hitchcock's train. Oddly, I recall the day she died, 29 May, 1948, because I have a flashbulb memory of myself in childhood reading her obit on a sunny afternoon in the New York Daily News, and wondering who she was. Now that my brain is turning into tofu, I intend leaving it for analysis to the American Culinary Institute.The plot is pretty much by the numbers. It was remade, I think, in 1976 with Mary Steenburgen. The first time I was aware of a similar tale -- a young woman hired at an isolated estate and being passed off as someone else -- was in Conan-Doyle's "The Copper Beeches." A seasoned mystery writer could have knocked out this plot as fast as he could type. It was merely a matter of setting up the situation and then figuring out the many ways she could try convincing others that she was sane, not nuts, and how many ways she could try but fail at communicating clues to possibly helpful figures from outside her prison. I counted three important notes from her or from a friend -- notes that would have ended the mystery pronto -- that were intercepted and ripped up.Yet, withal, it's tautly written and enjoyable if you are looking for a diversion. Happily, it's only a bit more than one hour long.