1950 feature film
A gripping suspense film with fine performances and
some spine-tingling film noir atmosphere, "The Secret Fury" was Mel Ferrer's
most financially successful film as a director. It was filmed at RKO under the working
title of "Blind Spot" in the Fall of 1949
under the auspices of Howard Hughes, who had signed Ferrer to a contract as
an actor during the summer of 1949 based on his performance in "Lost
Boundaries," but also used him as a director to salvage his film
"Vendetta." Ferrer - always skeptical of his role as leading man - was
actually more interested in developing his
behind-the-scenes skills, so when an acting role opposite Ann Sheridan in
"Carriage Entrance" fell through and Claudette Colbert suggested he direct her
latest effort, he campaigned for the job. Hughes agreed, and it turned out to be a labor of love for Ferrer, who journeyed to New York to coerce several acting friends to
Hollywood for parts in the movie - among them Philip Ober and his wife
Vivian Vance, Jane Cowl, Paul Kelly and old chum José Ferrer with whom he'd
recently swapped acting / directing chores on Broadway. He also lured Doris
Dudley out of retirement to play a society matron.
The plot centers on a wealthy heiress (Claudette Colbert) whose wedding to
the man she loves (Robert Ryan) is interrupted by a strange man claiming to
be her husband. As evidence mounts against her, the heiress starts to doubt
her sanity and when her forgotten "husband" is murdered, she becomes the
prime suspect. Only her true love believes in her innocence, and manages to
uncover the complicated scheme behind the accusations.
Much of the plot centers around the jazz band of the man claiming to be her
husband, and when José Ferrer had to withdraw from the role, director Ferrer
- a huge jazz aficionado - decided to give the part to one of the musicians he'd signed to
perform for the film - guitarist, Dave Barbour. When the big jam session was
scheduled for shooting, the RKO lot suddenly filled with starry spectators, among
them Ava Gardner, Lana Turner and Joan Fontaine.
The reporters in the courtroom scene were played by real reporters and
there are dozens of different stories from various members of the press
who showed up to be part of the film. They were full of suggestions for
Ferrer, who listened attentively to most of them but drew the line at pencils behind
the ears. He rewarded a few of them with speaking roles, and it seems to have
been a rather good natured romp for all involved.
There are some interesting postscripts to this film. Although Mel Ferrer
brought Vivian Vance from Broadway for a small scene-stealing part
in the film, he went on to use her and her husband Philip Ober in various theatrical roles at The La
Jolla Playhouse. It was in one of these performances that Lucille
Ball and Desi Arnaz spotted her and decided to sign her for the role of
Ethel Mertz in their new television show called "I Love
Lucy".
A more personal connection took place between Ferrer and Barbour, who
later asked him to help his wife - vocalist Peggy Lee - stage a new act at Ciro's. The
enormously talented singer was going through a career slump and Mel Ferrer worked closely with her,
coming up with a long range plan to restructure her act and her personal
self esteem.
This is covered in detail in The Stagings directory of this site.
The film has never been released on video.
