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After an accident ends in appreciable facial scarring, Anna Holm (Joan Crawford) finds herself in a world of prison exercise. A ruthless blackmailer, Anna makes use of giant hats to cover her face, preferring to lurk in shadows fairly than permitting herself to be seen. However when she meets a surgeon who can remove the scars, Anna sees a possibility to begin over — if she will resist the prison underworld she’s grow to be so accustomed to.
“A Lady’s Face,” directed by George Cukor, usually insightfully glances into the suffocating magnificence requirements girls expertise. A pointy distinction reveals itself each in the best way individuals deal with Anna earlier than and after her surgical procedure to take away her scarring, in addition to the best way she carries herself earlier than and after her intensive operations. Males who as soon as mocked and scorned her for her scars now covet her — however Anna solely seeks to please Torsten (Conrad Veidt). She craves his approval and love, however Torsten is a callous man, whose preliminary likability offers technique to one thing way more wretched. Within the crushing attic sequence, Torsten behaves cruelly to her, reminding Anna that he fell for her earlier than the surgical procedure, and that solely he might presumably love the actual her.
Crawford so usually shone in massive, daring moments, shouting or screaming to command consideration. However Anna presents one thing totally different — a possibility to experience delicate seems and smiles that illuminate her characters’ interiority. “A Lady’s Face” regularly dips into implausible territory, making it powerful to take critically, and it veers too laborious into melodrama as effectively. Nonetheless, Crawford and Veidt are so super that these points fall by the wayside.
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