Niagara

Directed by Henry Hathaway, Niagara follows Joseph Cotten’s George Loomis as he becomes increasingly convinced that his younger wife (Marilyn Monroe’s Rose) is having an affair – with complications ensuing after a newlywed couple (Casey Adams’ Ray and Jean Peters’ Polly) find themselves enbroiled in George and Rose’s marital problems. Filmmaker Hathaway, working from Charles Brackett, Walter Reisch, and Richard Breen’s screenplay, delivers a deliberately-paced drama that admittedly does take a while to get going, as Niagara’s first act is devoted to the somewhat uneventful exploits of the various characters – although, by that same token, Hathaway effectively manages to develop the central foursome and elicit strong work from his actors. (Monroe’s typically stirring turn is matched by an above-average supporting cast, with, especially, Peters’ progressively compelling performance transforming her into the movie’s stealth MVP.) It’s clear, then, that the picture grows more and more absorbing as it progresses, with the growing emphasis on surprising plot developments effectively juicing the narrative on a continuing basis. The movie’s undercurrent of noir-inspired nastiness is certainly difficult to resist, as is the unexpectedly electrifying nature of its final half hour or so – which ultimately does cement Niagara’s place as a somewhat erratic yet thoroughly satisfying 1950s thriller.

***1/2 out of ****