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Download, Watch online The Woman on the Beach Movie.
| Genres: | RomanceDramaFilm-N |
| Starring: | Charles Bickford, Robert Ryan, Walter Sande, Joan Bennett, Nan Leslie, Jay Norris, Frank Darien |
| Director(s): | Jean Renoir |
| Country: | USA |
| Year: | 1947 |
| IMDB Rating: | 6.7 |
A moody piece about a triangle involving a Coast Guardsman (Robert Ryman), a blind painter (Charlesd Bickford) and his wife(Joan Bennett). Nan Leslie, Walter Sande, Mrs. Wernecke Irene Ryan. (Drama, 71 mins.)
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The Woman on the Beach (iPod) | Resolution: 480x368 px | Total Size: 267 Mb |
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The Woman on the Beach (DivX) | Resolution: 640x480 px | Total Size: 700 Mb |
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Movie Photos: We have taken some photos of "The Woman on the Beach". They represent actual movie quality.
Visitor Reviews: (20)
15 May 2012
A fascinating film noir!
I said in my book, Mystery, Suspense, Film Noir and Detective Movies on DVD: A Guide to the Best in Cinema Thrills, that this excellent Manga DVD version was indeed a fascinating movie experience. And, looking at the film again last night, I stand by that statement. True, it is not one of Renoir's "top three" (as Jacques Rivette often claimed), but it is a very faithful transcription of Mitchell Wilson's novel, "None So Blind". The three principal characters, memorably played by Robert Ryan, Joan Bennett and Charles Bickford, are all blind in one way or another. But they are real people, and Renoir brilliantly isolates them not only from each other but from the harshly atmospheric beach locations in which the movie is so powerfully set.
mmfowler 14 May 2012
interesting if muddled
I agree with the reviewer who found Charles Bickford's performance asthe blind painter as the most compelling and best done. But then, Tod,the artist, is the only one of the three main characters whomotivations and personality are clear. His much younger, beautifulwife, played by attractive brunette Joan Bennett, is held captive byhim in an emotionally and physically abusive way. At the same time, shefinds herself powerless to leave him, though she finds thepsychologically injured Navy vet Robert Ryan, who dreams of walkingunderwater toward a beautiful sea nymph who resembles her, veryattractive.Ryan's character is the biggest puzzle. We can perhaps understand theyoung wife's clinging to her aging, blind husband out of guilt. Afterall, it was she who apparently severed his optic nerve during a drunkenargument some time ago, though how she managed this without a scalpelis unclear. There are no marks on the painter's face, leaving one towonder if the cause of blindness is not psychological, or indeedmetaphorical. But Ryan's murderous stupidity when he twice comes closeto killing the blind painter are only pardonable under the assumptionthat Ryan is so stress inflicted from his war experiences that he isinnocent of even a murder attempt. I didn't buy it, and nor do I seehow the movie's conclusion begins to resolve Ryan's obvious mentalissues.
Martin Teller 14 May 2012
The Woman on the Beach (1947)
The Woman on the Beach A coast guard lieutenant gets caught in the middle of a tempestuousmarriage. The film has a lot of psychological angles and is anchored bythree strong characters with fine performances by Ryan, Bennett andBickford. However, the story just never takes off and seems to floataround without a destination. The emotions bubbling under the surfacerarely materialize into compelling plot material and I was fightingboredom a lot of the time. I also found the cinematography uninspired(except for Ryan's surreal nightmare) and the score far too oppressive.6/10
ackstasis 14 May 2012
"Go ahead and say it... I'm no good"
By 1947, Jean Renoir, at least indirectly, wasn't new to the Americanfilm noir style. Two years earlier, Fritz Lang had released the firstof his two Renoir remakes, 'Scarlet Street (1945),' which was basedupon 'La Chienne / The Bitch (1931)' {the second film, 'Human Desire(1954),' was inspired by 'La Bête humaine (1938)'}. 'Scarlet Street'notably starred Joan Bennett in a prominent role, which makes itinteresting that, despite allegedly disliking that film, Renoir himselfused her in his own Hollywood film noir, 'The Woman on the Beach(1947).' It's a visually-magnificent film, with photography from LeoTover and Harry Wild (the latter of whom shot 'Murder, My Sweet (1944)'and 'Macao (1952)') that perfectly captures the mystery and eerie calmof the beach-side setting, frequently swathed in gentle clouds of mistthat foreshadow the ambiguity and uncertainty of the story thatfollows. When we first glimpse Joan Bennett on the fog-swathed coast,collecting driftwood at the wreck of a grounded ship, she really doeslook ghostly and ethereal, a premonition that may or may not be real.Robert Ryan plays Scott, a coastguard who suffers from regular nightterrors concerning memories of a war-time naval tragedy, when his shipwas presumably torpedoed. His dream sequences are gripping andotherwordly, recalling the excellently surreal work achieved by Renoirin his silent short film, 'The Little Match Girl (1928).' During hisnightmares, Scott imagines an underwater romantic liaison, which,before he can get intimate, unexpectedly blows up in his face; this isan apt indication of the events that unfold later in the film. Scott isengaged to marry the pretty Eve (Nan Leslie), but his attention is soondistracted by Peggy (Joan Bennett), the titular "woman on the beach."Peggy is married to Tod (Charles Bickford), a famous blind artist whois still coming to terms with his relatively recent affliction. At just71 minutes in length, 'Woman on the Beach' feels far too short, theapparent victim of studio interference. Scott is obviously enamoured,and later obsessed, with femme fatale Peggy, in a manner than suggestsWalter Neff's fixation with Phyllis Dietrichson, but the motivationsbehind his actions are inadequately explored and explained.Perhaps as a result of the studio's trimming of scenes, manyplot-twists in the film seem somewhat contrived. Scott's extremedetermination in proving that Tod is faking blindness feels soincredibly illogical  why, indeed, would Tod even consider such a con?Many wonderful scenes are severely hampered by the story's lack ofexposition. In the film's most dramatic scene, amid the choppy watersof the Atlantic, Robert Ryan displays a frighteningly convincing ragethat borders on pure psychosis, a quality that Nicholas Ray exploitedfive years later in 'On Dangerous Ground (1952).' However, becauseScott's obsession and emotional transformation had previously beenexplored so sparsely, the sequence feels, above all else, out ofcontext. The performances are nevertheless solid across the board, withBickford probably the most impressive. Bennett's character istantalisingly ambiguous: throughout the film, she slowly revealsherself to be nothing but a greedy tramp, though Scott insists ontreating her as a tormented victim of abuse. The ending offers littlein the way of resolution, reaffirming the sentiment that perhaps thisfilm isn't all there.
10 May 2012
Not Renoir at his best but definitely ahead of its time
The Woman On the Beach isn't top drawer Jean Renoir, but his near-noir psychodrama has much to recommend it despite the inevitable tinkering at the hands of RKO. There's some striking imagery and design (not least the shipwreck on the beach where the illicit lovers meet) and Robert Ryan gives a strong performance as the vulnerable lead despite having the odd line of inane on the nose dialogue like "Let's face it, I'm not well!" - but then, this IS a character haunted by nightmares of romantic liaisons at the bottom of the sea amid the skeletons of his drowned shipmates. And that's before he gets reluctantly drawn into Joan Bennett and her blind artist husband Charles Bickford's marital problems. Not that Ryan, falling for Bennett despite the fact that her vocal delivery often turns into a deadening drone, believes Bickford's blind, and it's not long before trying to prove it by taking him for a walk along the edge of a cliff... It's hard not to see this as a major influence on Roman Polanski's Bitter Moon, so perverse is the couple's relationship of mutual dependency and loathing, although at heart it's about the need to burn the ghosts of the past, whether it be driftwood from a sunken ship or something more personally damaging. The ending is either brilliant or disappointing, and you probably still won't know which after seeing the film.
mlzafron 10 May 2012
Flawed but worth seeing
`Woman on the Beach' could have been a much better film; that's the tragedyof it. There's meat in this soup of a movie-mainly because of theperformances of Charles Bickford and Joan Bennett. But the rest of it isawfully weak, including, somewhat surprisingly, Robert Ryan. The mainfailures are the screenplay and the score. The latter can be forgiven,although it's so heavy as to be intrusive, but the former is full of holesthat leave the viewer baffled.I've seen the film three times now and I'm still trying to figure out whatexactly happened to Ryan in his career during the war (Navy? Coast Guard?As a previous reviewer here suggested, it's weirdly unclear what Ryan'sduties were before and after the war) and what is supposed to be wrong withhim.The secondary characters seem to have wandered into the noirish landscapefrom a Ma and Pa Kettle film and frankly I'm not all that surprised thatRyan seems ambivalent about marrying good girl, Nan Leslie. Renoir doesn'tseem to have known just what genre of a film he was making. We go fromthewoman's film to film noir to hokey comedy and back again. Irene Ryan iswildly out of place and her performance is over the top in the worst kindofway.But the gems in this film are Bennett and Bickford. Their characters'seamy, violent, sado-masochistic relationship is riveting and you can'thelpbut wish that Renoir had spent more time focusing on it and less on theantics of the Wernecke brood. Joan Bennett usually needed good material(`Scarlet Street', `The Reckless Moment', `The Woman in the Window') toshine, but she does quite well here, particularly in her scenes withBickford. There's also a wonderful moment where Ryan is beginning torealize that she isn't quite the put-upon little woman he thought she was.Her reaction is worth suffering through scenes about chocolate cake and thedecorations at the coast guard station.Charles Bickford is fabulous as the blinded, bitter and jealous artist,easily outshining the usually excellent Robert Ryan, who appears merelydazed and confused. This was the film that got me interested in Bickford'scareer. I've yet to find the movie where he isn't excellent.
st-shot 05 May 2012
Renoir at low tide.
The distinguished French director Jean Renoir beaches himself onAmerican shores in less than graceful style with this flatly performedmelodramatic noir that involves post traumatic stress and infidelity.While Renoir manages to keep the suspense building with characterambiguity he does so at the expense of draining the emotional realismfrom them.Scott (Robert Ryan), a coastguard officer is haunted by nightmares of aship sinking he survived. In an attempt to move on he proposes to hisgirl friend who does not want to rush into things. Riding his horsealong the shore one day he encounters Peggy (Joan Bennett), who livesnear bye with her blind artist husband, Todd (Charles Bickford).Confused and vulnerable the pair enter into a passionate affair.With the character of Peggy as his linchpin Renoir presents us with anideal fatale; mysterious beautiful and dangerous. Her ambiguity is keyto the suspenseful nature of the film but Joan Bennett is too icilyremote and unconvincing in her passion for Scott or Todd turning herfeelings on and off like a faucet. Ryan and Bickford for the most partcircle each other like wounded animals challenging and looking for anopportunity to strike. Both are so bitter they make it hard to believethey have any love in them.Given it's brief running time (71 min.) and its choppy narrative Womanon the Beach may not be the film Renoir intended. All three waxexistential in brief moments of metaphorical intent but theconversation rapidly turns to rage and irrationality much of the timeas Renoir employs excessive zooms and a overheated music score to giveWoman a B movie style of haphazard excess. The tacked on compromise tosalvage this shipwreck makes it only sink deeper.
Silents Fan 04 May 2012
Flashes of brilliance, but it just doesn't jell.
Robert Ryan, Charles Bickford, and Joan Bennett all give fine performances,but the parts never quite add up to a proper sum.Why does Bennett's character, the nymphomaniac wife who blinded her artisthusband (Bickford) seduce young men inside a derelict wreck on the beach?Aren't there any motels?Why does Bickford's character, the blinded sadistic artist keep throwingyoung men at his wife only to become resentful when she catches them? Whydoes he continue to believe that Ryan's character is his friend even afterhe pushes him over a cliff and tries to drown him in a storm atsea?Why does Ryan's character, a Coast Guard Lieutenant, spend all of his timeriding around on a horse? Is he in the Coast Guard, or theCavalry?What was meant by the ambiguous ending? Did any of the principals wind upwith each other, or are they all three finally free of theirobsessions?
Anthony Glad 02 May 2012
Why can't I forget this? Renoir, let me go!
Although the screenplay is pretty dreadful, though based on an interestingidea, and the dialogue mostly either flat or silly, this film still showsRenoir's mastery, particularly in the purely visual field. It still stayswith me in flashes, from nearly a lifetime ago. In addition to thedirector,that fine actor Robert Ryan, with almost nothing to work with, creates astrong impression. Definitely worth seeing with a fair amount oftolerance.
dougdoepke 02 May 2012
A Muddle
A Coast Guard officer gets involved with a strange woman and her blindhusband.Small wonder Renoir went back to France after this Hollywood misfire. Idon't know what the backstory is but the movie's a mess, great directoror no. The problem pretty much begins and ends with a screenplay thatmakes next to no sense. Start with motivation-- is Peggy (Bennett) aloving wife who simply strays, or maybe she's just a nympho addicted tosex, or even a masochist who likes pain; or maybe even a woman deeplyin love with Tod (Bickford). Unfortunately, there're reasons for anyand all of these, thanks to the meandering script. Then again, considering how changeable human emotions can be, maybe theoptions are not as mutually exclusive as first appears; maybe Peggy isjust really mixed up. Still, it would take a far better script toeffectively work out that particular pathology whatever it is. Here,options are simply dumped together into an incoherent jumble.Unfortunately, Tod's character is similarly mangled-- try figuring out,for example, how Tod and Scott (Ryan) really feel about each other. Butthere's no need to repeat the points other critics have enumerated. Then there's the staging. In particular, consider the following-- ahalf-blind(?) Tod tumbles from a 100-foot rocky cliff with only minorhead scratches; in a rocking little boat, Tod and Scott stand stockstill as the seas rage beside them; at the same time, the two enemiessurvive after hours of clinging to the roiling wreckage. To me, all ofthese staging fiascos could be made more credible with better planning. Fortunately for the movie and us, there are arresting visuals to focuson the opening nightmare is a stunner, along with the wrecked ship onthe beach. Renoir also creates an intense fantasy-like atmosphere withthe foggy beach and the ship's grotesque skeleton. Then too, Ryan andBickford make convincing hard-nosed adversaries. But these upsides areunfortunately not enough to salvage the overall result. Considering Renoir's previous successes, especially with the lyricallyimpressive The Southerner (1945), I'm guessing the studio had a deadhand in (mis)shaping the final cut. But, I guess it's also possiblethat the director-writer was trying to bring some Europeansophistication to a moody love story that just doesn't work. Butwhatever the ultimate reason, the movie remains a disappointing muddle.
writers_reign 01 May 2012
Three Blind Mice
After sitting through this film in total bemusement I turned to theeight comments posted here in search of anything that may help me makesense of it. There seems to be a consensus that Renoir suffered a touchof the Orson Welles' inasmuch as a potential masterpiece was butcheredby the studio. There may be grounds for asserting the studio did infact cut the film extensively but I could detect no evidence whatsoeverthat this was a potential Magnificent Ambersons. I'm an admirer ofRenoir but I had to work awfully hard to detect his hand in even oneframe of this noir manque. By coincidence I saw it within 24 hours ofanother noir film set largely out of doors in daylight and made by aFrenchman albeit set in America but Jacques Tourneur's Build My GallowsHigh is light years ahead of this whilst compared to Renoir over thelong haul Tourneur is very much second-string. Like Gallows theprotagonist - respectively Robert Mitchum and Robert Ryan - begins hiscinematic life betrothed to a wholesome Doris Day substitute but issoon seduced by a femme fatale - Jane Greer and Joan Bennett - butthat's about as far as comparison will take us. Unlike Gallows Renoirnever permits the noir world to fully intrude and eclipse the healthyenvironment in which the protagonist is discovered so that we'reconstantly reminded of 'normal' life even as Ryan is drawn deeper anddeeper into the whirlpool surrounding Bennett and her blind painter - avery crude metaphor for impotence - husband Charles Bickford. All threeprincipals give it their best shot but the problem was they never knewwhich target - thriller, suspenser, drama, melodrama - they were aimingat.
edwagreen 30 April 2012
Woman on the Beach-No Splash Here **
You'd think that a film starring Joan Bennett, Robert Ryan and CharlesBickford would be far better. For one thing, Bickford, already in 1947,looked far too old to play Bennett's blinded painter husband. Ryan is acoast guard officer who falls for Bennett and at the same time suspectsthat Bickford is feigning his blindness. That would have been a greatpremise to stick to, but it didn't and the picture may have suffered asa result.Ryan allows Bickford to fall off a rock and the two battle on a raftduring a ferocious storm. Amazingly, there are no fatalities, which initself is ridiculous.When I saw the ending, I thought that they would be bringing in Mrs.Danvers from "Rebecca," and even that scene ended in what many mightview as a cop out.
29 April 2012
Not Renoir's best by a mile.
Woman on the Beach (Jean Renoir, 1947)Trite, predictable noir-esque romance, not at all the kind of thing one would expect from a top-notch director like Renoir. Simple plot: military man (Robert Ryan) is suffering from what we would now call Post-Traumatic Stress Disorder. Gets scared. Wants to marry his girlfriend (Nan Leslie) immediately. But then meets seductive, sexy married chick (Joan Bennett) with blind ex-painter husband (Charles Bickford). Becomes obsessed with sexy chick (at which point girlfriend becomes almost a cameo in the film, rather than the main character she's set up to be; this is what I mean when I say you don't expect this level of filmmaking in a Renoir movie). Confrontation with husband. Repeat as necessary. You know the drill. I wonder if Renoir just needed the money? Some not-half-bad acting, but under no circumstances should you be expecting another Rules of the Game or Grand Illusion here. **
jakob_34 28 April 2012
Beautiful film noir.
This is an odd attempt by the great Jean Renoir to make a film noir. Thescript is not so good, but visually this film is dynamite, with wonderfulphotograpy by Leo Tover and Harry J Wild. Renoir did extensive retakes ofmany scenes, but was unable to get it right, unfortunately the film wasseverly cut by RKO for being too sensual and provocative. Whats left isgreat, a tormented husband, his unfaithful wife and her lover, who isntconvinced the husband is blind. The story is made dramtic by Renoir, andhiscareful direction makes the rather badly written characters interesting.Theacting by Robert Ryan and Joan Bennett is very exellent, and CharlesBickford is both brutal and sensitive as the husband. The film has dramaticmusic by Hanns Eisler and despite having laughable dialogue in some scenesitis definately worth watching. The work of a great cinematicartist.
esteban hernandez 25 April 2012
Bickford at his best
The leading actor-actress of the film were Joan Bennett and RobertRyan. However, Charles Bickford (Tod) had a tremendous performance as aformer painter, blind, with a sixth sense highly developed. Thedirector Jean Renoir tried to combine human feelings with thriller inthis film based on the novel "None so blind" of Mitchell Wilson. Fromthe very beginning it was not difficult to guess what Peggy (JoanBennett), Tod's wife, and the navy's lieutenant Scott wanted. Peggy wasambitious, she loved and hated Tod at the same time, while Scott waslooking for the real love of his life. The relationship of Peggy withScott looked opportunistic rather than due to sentimental attraction.Tod was bound to Peggy, but why? this is probably what the film wantedto demonstrate, once one breaks what is shared with your partner youwill be free as Tod finally became. The film looks to be incoherentinitially, e.g. Scott often had nightmares, and they never had any realconnection with the main plot of the film.
shepardjessica-1 25 April 2012
Interesting Melodrama That Never Quite Catches Fire
Jean Renoir was a fascinating director, but this one has holes in it,despite a classic "beach" mood. Robert Ryan, one of our most underratedactors, looks perfect but seems miscast in this one. Joan Bennett (I'venever quite gotten her appeal) seems lost, although she was perfect inthe two Fritz Lang films (Scarlett Street & Woman in the Window). Bestperformance = Charles Bickford as the blind painter-husband. I knowthere were problems with editing this at the time, but I kept hopingfor more.A 6 out of 10. Too much blasting music, but great cinematography. IreneRyan (Granny Clampett) has a supporting role, and I believe this is thefirst film I've seen her in. A great director, but I just couldn't grabonto this film.
kyle_furr 24 April 2012
pretty good
This was the second film I'd seen of Jean Renoir after The Rules of theGame. I liked this one a lot but there were a few things i didn't likeaboutit like the ending just seemed anti-climatic and forced. The movie shouldofbeen at least 10 or 20 minutes longer. Robert Ryan, Charles Bickford andJoan Bennett are all great.
evening1 23 April 2012
Sloppy tease of a film
This film aspires to so much more than it's able to deliver.Starting out ambitiously with a dream sequence and setting up acompelling love triangle, this film disintegrates by its extremelyconventional and unlikely conclusion.The characterizations here are crude. Joan Bennett's character tolerates a husband who smacks her in the face-- then alternatingly says she hates him and initiates passionatekisses with him. Robert Ryan's lieutenant has an animal passion forthis glamorous doormat yet seems turned off by concerns that she's atramp and then bizarrely challenges her husband to a fight in anocean-tossed fishing boat.This movie collapses under its ambitious latticework with a happyending that seems slapped together as an afterthought.
Robert J. Maxwell 22 April 2012
Unpleasant story
I don't know if much would have been made of this had it not beendirected by Jean Renoir. It's a strange and confused film. The maincharacters are Bickford, a blind and embittered ex-artist; JoanBennett, his nymphomaniacal wife; and Ryan, a Coast Guard officertortured by post-traumatic stress syndrome. (He has nightmares,conscious flashbacks, and is irritable and a little paranoid.) It isn'ta noir film except by the broadest definition of the term. Too much ofit is shot outside in the daytime and -- here's a noir marker for you-- it has NO snub-nosed .38 caliber revolver! If it doesn't have THAT,it's no noir.The story doesn't make too much sense, but it's hard to blame Renoirfor this. Rather the writer, Frank David, and, as I understand, thestudio itself should take the responsibility. It's basically a romanticdrama involving Bickford, Bennett, and Ryan that doesn't hang togethertoo well. Why does Ryan suspect that Bickford can really see? Why inGod's name would a man to whom painting is everything pretend to beblind? And what is going on with Bennett's character. She seems to bein lust with Ryan and they make love, but it is later revealed thatshe's gotten in on with other young men. For that matter, there aretimes when she seems genuinely fond of her husband too. Bickford's andRyan's performances are good, as always. Both of the actors seeminvariably to come across as rock hard and unyielding, here andelsewhere.There is no mystery to Ryan's job. He's a full lieutenant in the CoastGuard. During World War II Coast Guardsmen manned Navy transports andsmall boats like landing craft in both the European and Pacifictheaters. Coast Guard cutters were assigned to convoy escort duty inthe Atlantic and several were torpedoed. This, evidently, was whathappened to Ryan's character. (Kids -- I don't want you to get losthere. The USA and its "allies" fought against the Germans and Japanesebetween 1941 and 1945. This was known as World War II. PS: We won.)During the war and for a short period afterward, some Coast Guardstations conducted beach patrols on foot or on horseback. One patrolcaught three Nazi spies who had just landed on a deserted Long Islandbeach from a submarine. It is a little-known fact that thatno-longer-empty stretch of Long Island coastline is now covered withcondominiums owned by plastic surgeons and plumbers and is worth onehalf billion dollars per square foot.The ending is a triumph of ambiguity. Bickford gaily destroys his ownpaintings, worth a fortune, to "free himself from the past." In fact heblows the entire beach house up. He tells Bennett that she should drivehim to New York so he can begin a new life, although he's already triedwriting instead of painting and it came out like this -- "The idea thatman is good is bunk. Pure bunk. Every man has a split personality." Atany rate, now that he is free of the past, so is she, whatever thatmeans. They walk off arm in arm to the right of the screen. Ryan,without a backward glance at them, strides off alone to the left. It'sas if the director had thrown up his hands, shrieked "Au DIABLE!", andtold the actors to do whatever they wanted.Most worthy of attention: Ryan's and Bickford's acting. Oh -- and thebreezy sunny isolated beach front atmosphere.
blanche-2 22 April 2012
uneven Renoir noir
Joan Bennett is "The Woman on the Beach" in this off-center 1947 filmalso starring Robert Ryan and Charles Bickford. Directed by JeanRenoir, it apparently was badly edited by RKO; thus, it sometimes feltto this viewer as if large sections were omitted.Robert Ryan plays Scott, a Coast Guard officer with post-traumaticstress from the war. Psychologically, he's a little off balance. Isuppose saying "Robert Ryan" and "a little off balance" is saying thesame thing, given the roles he played, but there we are. He's set to bemarried to a lovely woman, Eve, (Nan Leslie), and in fact, urges her tomarry him even sooner than planned in an early scene. A few minuteslater, he's madly in love with Peggy (Bennett), whom he sees collectingdriftwood on the beach near an old wreck. Her husband Tod, it turnsout, is a great artist, now blind from a fight with his wife. The twoof them have a fairly sick relationship, with Tod apparently temptingPeggy with good-looking young guys to see if she'll cheat on him. Atone point during dinner with the couple, Scott passes a lighter acrossto Peggy and Tod head turns as the flame passes him. When Peggy walksScott out of the house she says, "No, Scott, you're wrong." So Scott,somewhere in a cut out section, became convinced that Tod can see,tells Peggy, and feels that Tod failed the test. But you have to fillthat in because it's not in the movie. It doesn't occur to him, Isuppose, that Tod felt the heat of the light. Finally, Scott takes Todfor a walk along the cliffs, determined to find out for once and forall if he can see or not.The film holds one's interest because of the direction, atmosphere, andperformances, but things seem to happen very quickly. Eve complains toScott that he didn't stop by the night before - which she considers asign that they are drifting apart - and he tells her that he shouldn'tbe married. In the film it seems like that happens within 24 hours fromthe time he wants to get married immediately. Fickle. One suspectsanother cut.This is a film about becoming free of obsession, and though some foundthe end ambiguous, it did seem clear to me that there was someresolution. The three leads are excellent - Bennett and Bickford play acouple with a strong history that has led to a love/hate "VirginiaWoolf" type of relationship along with infidelity on her part; Ryan,looking quite young here, is handsome, sincere and gullible as a manwho, while trying to break free of his demons, walks into a situationthat feeds on them rather than resolves them.With a more judicious cutting, "The Woman on the Beach" could have beena really fantastic film, with its psychological underpinnings being farahead of their time. As it is, it's still worth watching, though if I'dbeen Renoir, I would have been plenty angry at RKO for what was done tothis movie.