Lured (1947) is not a
Douglas Sirk title with which even many Sirk fanatics are familiar, as an independent production (from producer
Hunt Stromberg) that predates the director's emergence as a major popular filmmaker and stylist by more than a half decade. Its strange casting --
Lucille Ball,
Charles Coburn, Sir Cedric Hardwicke,
George Zucco,
George Sanders,
Alan Napier,
Alan Mowbray, and
Boris Karloff, many in some of the more offbeat roles of their respective careers -- is only one of its odd touches. Karloff's character doesn't amount to much more than a red herring, but the movie offers so many bizarre twists and turns that this piece of deception can be forgiven. Visually and thematically,
Lured incorporates elements from
Edgar G. Ulmer's
Bluebeard and
André De Toth's
House of Wax, among other movies. There are too many changes in mood and tone to hold it together, but
Lured makes the most of its delightfully odd turns as entertainment, if not credible cinema storytelling. Above all, this is one gorgeous DVD -- maybe the best-looking presentation of an independent-made release of its era this side of Artisan's disc of
Bretaigne Windust's
The Enforcer (1951), and definitely the best-looking of Sirk's black-and-white movies to make it to digital disc as of 2004. Except for a short stretch of film at about 27 minutes into the movie, which has some scratches and a moment of visible frame damage, this edition generally looks about as good as any major studio DVD release of its era. Considering some of the disquieting images that appear every few minutes, the disc is worth every cent.
Some of the dialogue is also quite racy for its time. When duplicitous butler
Alan Mowbray admits to prospective employee
Lucille Ball that it's her "personality" that interests him, she answers right back, "I can see that from here." Ball is superb as an American showgirl stranded in London who gets involved in the hunt for a serial killer when one of her friends falls victim. Hardwicke almost melts into the part of a creepy, overly officious business manager of habitual womanizer Sanders, and
George Zucco appears in one of the oddest roles of his career as a tough Cockney police detective with a penchant for crossword puzzles. The quality of the full-frame transfer (1.33:1) and the presence of 16 chapters show a good amount of care in the package, though one does wish there were a trailer or a bio on Sirk covering his early career. There are no special features, but the movie itself has enough to offer fans of the mystery genre, in general, and Sirk's work, in particular. Though it doesn't resemble the movies upon which Sirk's reputation was built, one can find elements in common: The woman-centered story and Ball's ambition and perseverance anticipate Sirk's later subjects and characters, and his use of
Charles Coburn seems like a dry-run for the latter's serio-comic performance in Sirk's delightful (and terribly underrated) Has Anybody Seen My Gal? (1952). ~ Bruce Eder, All Movie Guide