Sleep, My Love

Somewhat silly at times but a very good paranoid thriller with great performances. I especially like that Sirk avoids having the film being some leaden noir; it's a story about paranoia, manipulation and the threat of madness, but it clips along at a great pace and there's enough lively touches to keep things moving.

Okay, so the story is pretty damn predictable, but it's a really fun movie. It has terrific pacing, some amazing shots (the whole thing is photographed nicely) and even some good bits of comedy that manage not to undercut the tension. The Chinese wedding, for example, takes a good portion of time away from the action, but it's a delightful scene. Maybe this isn't a groundbreaking noir, but I really enjoyed it, especially for the entertaining (if somewhat routine) plot and superb cinematography.

Similar to Gaslight and one or two other earlier thrillers where a husband tries to drive his oblivious wife insane, Sirk's variation is about as silly but probably better and more fun than its predecessors. Most of what would make Sirk such a distinctive director in later years is absent here, but it's well-enough directed that if someone told me it was Hitchcock I would buy that.

Disappointingly predictable, and especially the role of the villainous husband is too bland.

So close to greatness! Only a real sense of suspense was lacking. While the whole film was built around that feeling of fear that Claudette Colbert had, they toned it down a little too much, perhaps so not to strange the film in that constant chill. Yet, without that, Sleep, My Love (1948) was still a quality film I couldn't take my eyes off. I was one that drew me in and kept me intrigued all the way, while at the same time being entertaining in that charming Hollywood way.

Silly fun. A variation on Gaslight, the first half is a succession of odd scenes in tony settings, until you find out what's going on--then you know how the movie is going to play out. One doesn't quite believe Colbert is as dim as her character appears to be, Cummings is appealing as usual (though his Asian sidekick is an odd touch), and Ameche is just smarmy enough, though it's difficult to imagine why he would want to replace Colbert with the smoldering but unabashedly cunty Hazel Brooks.

Gaslighting plot that is never particularly sinister since we are shown most of the husband's plans as it goes along. Colbert and Ameche are both wasted in humorless roles and Robert Cummings is as bland as can be.

Enjoyable gaslighting noir. This nowhere near top Colbert but she's good enough and Cummings and Ameche make up the difference.

ok