Pacionsbo
Absolutely Fantastic
SpunkySelfTwitter
It’s an especially fun movie from a director and cast who are clearly having a good time allowing themselves to let loose.
Bumpy Chip
It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.
max von meyerling
Just a few words about the print shown on TCM. It begins with a credits over action sequence where three of the leading actors are being driven around the Amalfi coast, with a bowler hatted George Sanders half out of the Fiat 1500 (1600?) sports car. The print was obviously several generations away from the camera negative. It sported a Columbia logo but according to this site it was distributed by Universal. The opening credit sequence is squeezed as if it had been filmed with an anamorphic lens and copied using a normal spherical lens, a typical strategy in panned and scanned wide screen prints copied for showing on TV and for the commercial videos of recent memory. Columbia may have bought the distribution rights either for TV or video or both. After the credits the opening frame is of the sign identifying the Salerno train station with half of the "S" and none of the "O" in the frame. The train arrives and George Sanders and Shirley Jones get off and have a deliberately unintelligible conversation drowned out by background noise. This may be because Italian films are shot silent with the dialog recorded later and this meant that the complicated and expensive mixing of such a scene could be more cheaply "faked". Then they are met by a woman and taken to the Fiat sports car and the opening theme music begins and then abruptly ends in a jump cut of the Fiat pulling up to the front door of a Villa. Obviously the opening has been rearranged as the arrival at the train station was supposed to be a pre-credit sequence and probably was in the theatrical feature but the mimed conversation was judged to be too off-putting as a opening and things were just rearranged. I.E. The picture starts with the arrival in Salerno and proceeds to a picturesque road trip along the Amalfi coast complete with credits and theme music (60s faux Parisan vocalese) and then the story begins.There is no widescreen process, anamorphic or not, listed in the credits so the big question is - was the film re-edited for the after-market, or for American theatrical distribution or maybe it was cheaper to print the original film in 1:33 from a 'scope camera original? What ever, the current print isn't even panned and scanned but just seemingly run through the printer at full speed. The film is in Technacolor which suggests the possibility of their house process Techniscope. This was a recently introduced widescreen process which uses spherical lenses to record two wide frames inside a usual 35mm frame but is printed anamorphic by being blown up 2X. This would explain the fuzzy focus and crude depth of field of the TCM print.This is a petty terrible film, call it at its best -"derivative". Another snoor fest of the innocent American girl falling for a dubious but charming and handsome Italian nobleman, complete with secret door and hidden room containing "the truth". The star attraction, except for maybe a nearly extinct cult following for the laconic and sardonic George Sanders, is non-existent. There is nothing remarkable about this film either aesthetically, cinematically, or historically. This makes DARK PURPOSE a very bad candidate for restoration. I fear the copy shown on TCM is about all anyone will see of L'INTRIGO or DARK PURPOSE so if you must see it or copy it then take advantage the next time its on TCM. It truly is an orphan film.
ldpasco
Way back in pre-vcr, early 1980s Florida I tried to stay up and watch this but ultimately fell asleep before the film's airing time. This was when channel 13 was ALWAYS showing little imported horror and suspense films like: Beyond The Door, Dracula A.D. 1972, Shock Waves, Welcome To Arrow Beach, Secret Of Seagull Island, The Psychic, Lady In The Car With Glasses And A Gun, Night Watch (with Billie Whitelaw), Rider On The Rain, Hands Of The Ripper, Reflections Of Murder (Tv's Diabolique remake), Rosemary's Baby, The Legend Of Lizzie Borden, etc, just to name a few from memory. Very cool time! Anyway, this missed opportunity has always haunted me and I've searched for this title for years so when Turner Classic Movies aired this I was elated! Was it worth the wait? I can honestly say yes. A great film? No, but highly watchable and everything I had expected based on the brief, old summary that TV guide gave the film. I can't add to anything that has already been posted about this film but if you dig seeing attractive ladies in peril running around an appropriately gaudy Gothic villa and sunny, Naples scenery then this fills the plate. While watching 'Dark Purpose' films like 'Hatchet For The Honeymoon' and 'Champagne Murders' immediately popped in my head. That should give a clue as to the actual feel of the movie (if one has seen these two flicks). AND of note is the always great George Sanders: brief but exceptionally bitchy with some snide lines! What a little queen! One last thing: it's been posted that the print that TCM aired was bad (with seriously spotty sound) and maybe so but that's only in comparison to their normal output of LBX & remastered films, yes then it was a low grade print. But in my opinion: shoddy 'Dark Purpose' is better than no 'Dark Purpose'
sol
**MAJOR SPOILERS** Traveling to Naples Italy to appraise Count Paolo Barbarnelli's, Rossano Brazzi, vast and very expensive art collection the appraiser world renowned museum curator Raymond Fontaine's, George Sanders, secretary Karen Williams, Shirley Jones, is taken under the spell of the dashing and handsome, as well as a bit mysterious, Italian nobleman.In fact the first meeting between Karen and Paolo wasn't exactly that romantic with him having to call off his German Shepard guard and attack dog Gallo from tearing a terrified Karen to pieces. It later turned that the vicious Gallo wasn't the only one who was a bit overprotective of his master Count Paolo. Paolo's somewhat mentally unstable 19 year-old daughter Cora, Giorgia Moll, also had a strange and unnatural attraction towards him. So strange that she was capable of murdering anyone, like Karen, who tried to take Paolo away from her.Were, as well as Karen, are later informed by Paolo that Cora has suffered a serious head injury while skying in Switzerland two years ago. That accident, skiing head first into a tree, has caused Cora to lose her memory of everything that happened in her life up to that time!Paolo for his part wasn't really interested in starting up a love affair with Karen who was young enough to be his, like Cora, daughter. He was already involved with local boutique owner Monique Bouier, Micheline Presle,who in fact he set up, by financing, in the clothing business. It soon turns out that Karen whom the Count fell heads over heels for has two, not one, persons in his life who are out to get her for trying to take Paolo away from them: His daughter Cora and lover Monique.***SPOILER*** We first get an inkling of just what Paolo is really up to when he's spotted at a swanky Naples restaurant, that he took Karen out to dinner, by American tourists Midge and Marvin Thompson, Matailda Calnan & Charles Fawcett. Even though Paolo told Keren that his wife died on him some fifteen years ago Midge insisted that she, together with Marvin, had met him and his old lady just two years ago While they were vacationing at St. Moritz! In fact the two couples, the Thompsons and Barbrelli's, spent the entire time at St. Moritz dancing dinning and conversing with each other! So it just couldn't have been a case of mistaken identity on Midge's part in her and Marvin knowing Paolo and his late wife some 13 years after she supposedly died!Very upset Paolo, in an uncontrollable rage in his secret being discovered, rushed out of the restaurant with Karen, who's now a bit confused about his intentions with her, tagging along. It's later when, with the help of Cora, Karen discovers the Count's deep and deadly secret that he then plans to do her in! This before the truth about Paolo's secret life becomes public with him ending up being arrested for grand larceny and murder! And with his secret being exposed everything that Paolo worked connived and killed for, like his multi-million dollar art collection, is in danger of going together with him down in flames or up the river.Alone and locked in Paolo's villa with nowhere to go in order to get away from the crazed Count Karen is now not only under attack by her former lover but his vicious attack dog Gallo as well. ****ANOTHER SPOILER ALERT**** It turns out that Gallo in trying to get to Karen, as she and Count Paolo were struggling at the foot of of a water fountain, miscalculated and missed his mark! This mistake on Gallo's part turned out to be a very very lucky break for Karen but not for his master the the maniacal Count Paolo Barbarelli.
OnePlusOne
In this American-abroad-in-peril the quite breathtakingly beautiful Shirley Jones plays a young secretary who arrives in Italy with Britton insurance agent George Sanders (noless!) to evaluate the stunning estate of Count Paolo Barbarelli (played with merit but without real imagination by Rossano Brazzi). She soon finds herself more interested in the clichéd aristocrat charms of the Count than in his art collection. However all is not as it seems, and sneaking around the house is the Counts eerie daughter, allegedly traumatized after the death of her mother in an accident a few years back. Questions mount and plot thickens as Shirley pursues a friendship with the girl, and roams around the big estate where a mystery seems hidden within the architecture it self. All in all this is an entertaining romp for those with a taste for stylish Hitchcockian thrillers of the 60's, and what it lacks in originality it makes up for in the charm of the cast, good paced direction and lavish imagery.
