Anne Baxter is at the top of her game here imbuing her “Evelyn” character with quite a bit of toxicity. She’s not a well woman and so is kindly invited to live with her boyfriend doctor “Dan” (Scott McKay) and his family. These folks are broadly welcoming of their new arrival, but it soon becomes quite clear that she’s not a very nice person and is at her most contented when she is playing with other people’s emotions. Firstly, she starts to make a move on his married brother “Douglas” (Ralph Bellamy) and is soon manoeuvring herself into his affections whilst simultaneously destroying the fabric of the others in this household. Fortunately, the sagely aunt “Martha” (Aline MacMahon) has been to the Judith Anderson school of careful counter-plotting and decides that it might be time for their young visitor to get her comeuppance. From around twenty minutes in, director John Brahm starts to builds a drama that’s cleverly enough crafted, eerily intrusively photographed and that uses Werner Janssen’s tense and crescendoing score to good effect as Baxter’s machinations unfold before us. The gents fare a little less well, but that’s as much to do with their parts being very much supportive to the roles for Baxter and MacMahon as to their lacklustre acting. This is definitely a film that showcases strong women with parts (and co-stars) they can sink their teeth into and though there are plenty of eyebrow-raising moments in a story that isn’t always the most plausible, there’s still enough to keep this interesting. Ornithophobics amongst us might want to beware, too!

Little Saint Cecilia! Guest in the House is directed by John Brahm and adapted to screen by Ketti Frings from the play written by Hagar Wilde, Dale Eunson and Katherine Albert. It stars Anne Baxter, Ralph Bellamy, Aline MacMahon, Ruth Warrick and Scott McKay. Music is by Werner Janssen and cinematography by Lee Garmes. The Proctor family take on more than they bargained for when Evelyn Heath (Baxter) comes to stay with them. Given the quality of cast and with the strength of Brahm and Garmes on the camera side of things, this really should have been a top tier psychological thriller. Sadly, in spite of much to keep it above average, it ends up as a melodramatic pot boiler that never quite comes to the boil. Essentially the pic is framed around Baxter's troubled Evelyn, who is up to no good, where mischief making is the order of the day. Her motives are sketchy and her neurotic kinks are never fully formed except to give us some closure at pic's denouement. Things aren't helped by the fact Evelyn is just not a character to either sympathise with, or to even feel unnerved by since her shenanigans are not gripping and even come off as a little daft. The male leads are poorly written, chauvinistic leanings boorish in the grand scheme of "outing" Evelyn as the sexual aggressor. While some of the histrionics on show from Baxter are hard to buy into. On the plus side the pic looks great, with Garmes (Nightmare Alley) managing to create moody ambiance in what is a stage bound play, and although I found Janssens' music score to be too jaunty at times, there's no denying the quality of arrangement (Oscar Nominated). You have to look to the supporting players for quality (MacMahon and Warrick), and admire some technical craft for comfort. But ultimately it's a missed opportunity for potency, whilst some of the contrivances and character portrayals date the story badly. 6/10