It's like mafia movies - it's too long

4.0 stars; This was the original of a movie with many remakes. Even though a couple of the remakes were of high production quality with high paid actors, I will go with the original. This has to be one of the most sensual, sexy introductions of an actress ever (Lana Turner). The story was so hot and steamy, I’m still wondering how it made it past the Censorship Board in 1946. This movie is a classic film noir, and it will be hard to top the original. Excellent acting and directing.

It goes on a bit too long, but it's a good movie. Lana Turner's initial appearance is one of the sexiest entrances in movie history.

Well, it is better than the remake at least.

First half of the film is excellent drama - building the characters, relationships between characters, and motivations. But the second half is tedious, and the plot gimmicks become tenuous.

Lana Turner and John Garfield plan the murder of her old husband. The first try fails. The second try works, but they are arrested. Turner is convicted of manslaughter and let off. She and Garfield get $10,000 insurance money and begin making Twin Oaks better.They marry. They have a car wreck, and she is killed. He's convicted. James Cain wrote the story. The Tay Garnett's directing and the screenplay are the foundation along with the star chemistry that take this out of the ordinary. Lana Turner is an exceptional beauty. Her entrance takes Garfield's breath away. That scene is unforgettable. Hume Cronym the lawyer is another reason this film is exceptional. Black and white raises the tension. Audrey Totter adds another level of interest. The Los Angeles of those days is another element that raises interest. The clothes. hair, swimsuit, cars, and trucks make that entire era come alive. The plot matters less and less, because this film captures a time so perfectly. This film is better than Cain's book. Even the motorcycle the cop rides is so interesting. The meat market in Los Angeles is a moment in history. I think the old husband adds another likeable character. He sings and plays his guitar: I'm not much to look at...but I've got someone who's crazy for me. Poor guy. After I read Cain's story I realized a film's screenplay can take a book to a higher level. All great films have a top screenplay. There is nothing without a great script.

When the movie focuses on Lana Turner and John Garfield plotting murder, the film is fun, fine, and thrillingly trashy. But when the plot goes off into so many illogical and unnecessary tangets, it loses some of its' impact.

Male members of the film's original theatre audience at least got their two-bits' worth eyeing the always glamorous Miss Turner, and the ladies probably swooned over tough-as-nails John Garfield, but aside from that there's little to recommend here. I don't know why this movie is often held up as a Gem of the Film Noir genre; the plot is weak, the "twists" worse. In the end Crime Doesn't Pay, courtesy of the production code. Spoiler Alert: the titular "postman" doesn't even ring ONCE, let alone twice, and doesn't even make a cameo appearance. Maybe the editors left that footage on the cutting room floor?

A sappy melodrama; the only thing to recommend it is Miss Turner.

Definitely didn't live up to my expectations and while the performances of Garfield and Turner deserve a large amount of praise, the plot felt stale and unmemorable viewed through a 2021 lens.

"Cats are poor, dumb things." "Yeah, they don't know anything about electricity." Me: wat A lot of what makes me less than crazy about The Postman Always Rings Twice is my experience with the earlier Italian adaptation of the source material, the 1943 film Ossessione (apart from having the general plot spoiled); Visconti's version is tighter, more emotionally charged, and makes a hell of a lot more sense than this confused and often random film, where characters turn on a dime for little reason and the plot, which is designed to rely on the power of a torrid passion, fizzles out along with the lack of chemistry between Turner and Garfield. Garfield in particular feels like an egregious miscasting, never bringing much in terms of charisma or intensity to what is supposed to be a dynamic role. The narrative kind of meanders around and never really establishes an atmosphere. Based on name recognition, this film seems like it would have some substance to it, but there's honestly not much to it. (2.5/5)

This has to be the most overrated movie in American history. It is absurd on every level.

A classic film noir, Lana Turner is the ultimate femme fatale. She was so stunning! I thought the narration from John Garfield was a unique touch. The Postman Always Rings Twice is a solid film but it doesn't have that "edge" that would make it great.

This movie was very well made, cast, and written. Lana turner was seductive and plays the sweet, nice next girl type, blonde bombshell, but somewhat twisted. John Garfield was the regular, average joe that ran into the wrong place at the wrong time. Easy watching and well recommended. Backdrop is old, quaint town in the hills.

A classic. Lana Turner so gorgeous I thought about killing her husband.

LANA TURNER smoking hot. John Garfield simmering but seemed short. PLOT went from hard to believe to very very very complex & twisty. When it seems it is over it has about 10 more segment twists, but easy to follow, if not believe. Seen it a at least 3 times on 온라인카지노추천 including today 11-2020 on THE MOVIES CHANNEL. Ends on a note of the Justice of God.

This movie is riveting and packed with suspense from beginning to end. I have watched it more than once, especially enthralled by Lana Turner's and John Garfield's performance. Not to mention Cecil Kelloway's unforgettable performance--making you wonder how someone could be so stupid--not catching on to what is going in right under his nose. Or--is that just a put-on? Later on in the story--do we think that maybe Kelloway's character was "on" to what was going on all the time? But what enjoyed was the many twists and turns throughout the story. And thank goodness for the movie code back then--that left us with the realization--without giving away the ending--that "crime doesn't pay?"

Classic performances by Turner and Garfield. One of the greats.

"He used to be a dick, but he stopped being a dick," cleverly punned by the lawyer Keats referring to his right-hand man Kennedy, once a detective. The joke is manifold - Kennedy is more of a dick for working with Keats, and an even bigger dick as we get to the film's climax, where greed and ambition rule the dark hearts of capitalizing dickheads. By the time this climax unfolds, it's very satisfying to see the dynamics, unexpectedness, forced-by-circumstance teamwork. How did these two go from love to hate to the number one tag team? The two are Cora and Frank, an affair going on behind the back of drunken Twin Oaks owner Nick. Frank is a vagabond who wanders into town, somewhere on the outskirts of Los Angeles, in the company of a district attorney, Sackett - the film immediately opens on the central protagonist and antagonist. Frank gets himself a job with Nick, then meets Nick's way too young and beautiful wife Cora, who he quickly makes the moves on. The first act is fast, almost so much that the film is ready to lose me. We just got to Twin Oaks and it's an interesting place, please don't leave here. The film teases the possibility, but it seems the fate of Cora and Frank is set, and they are trapped by circumstance and lacking resources. They are, for lack of a better term, dumb criminals. But this is hardly a crime yet, and Frank is well aware that he doesn't want to commit crime as he responds to her wish that they could steal Nick's car; it's enough he's taking his wife. They don't get far before they wind up back at Twin Oaks, concocting a new plan to get Nick out of the picture - murder. At no point do they ever seem terribly clever outside of their small bubble. In the bigger sphere, there's no mystery and they aren't fooling anyone. The lawyer Keats, who will represent Cora, and the DA Sackett, are always on to them, way smarter, not even working with a hunch, but with a certainty that draws out Cora and Frank's stupidity further and further. Keats beautifully takes advantage of this, a dark, friendly rivalry with Sackett motivates him to help criminals. Postman is an unexpected film with no clear direction until it next unfolds, and every time I tried to get away from it, it pulled me back in with the same seduction Lana Turner uses for Cora, consequently used to draw in Frank to her plots. Cora is both a perpetrator and a victim, making it difficult to take an absolute moral position on her. One side of us wants to call her a she-devil temptress, but the fact is that as a beautiful woman in society, and thus constant prey for predators, she's had to act accordingly to survive. There is some level of ambition and greed, but it doesn't entirely define her. She's not out to screw everyone in the office, she functions more on pride. Frank is happy with love, so much that he acts against his moral judgment when push comes to shove, asking for Cora's assurance each time: do you really love me? The characters are all rich and complex with a sweetness, sensitivity, and sense of mission. Sackett maintains friendly ties, but is absolutely committed to his job. Keats is sly, professional, not entirely upfront about his intentions, a little tricky, and yet there's warmth to his helping hand. Nick is someone you can't help but feel bad for; there's no way this old fat man has Cora entirely in his grasp. Kennedy seems like a bull, until Cora and Frank get the better of him and he shows how pathetic he is. The arc of Frank and Cora is a roller coaster, and by the time we get to our tragic last moment with them, we see how the karma of cause and effect, both in the micro and macro moment, are perfectly inevitable.

A crime film classic that still holds up. John Garfield is a restless drifter with "itchy feet" who falls for small town siren Lana Turner and gets roped into helping her kill her husband. Garfield and Turner have a real chemistry together, double-crosses and twists and turns abound, particularly toward the end (every time you think it's over--it isn't), and if you're not familiar with the James M. Cain novel it's based on, you're in for a hell of a ride. With Cecil Kellaway as the oblivious and oft-inebriated Nick, the cuckolded husband, and Leon Ames and Hume Cronyn as a tricky D.A. and defense attorney. Is the movie filled with unforgettable images? With the exception of the occasional love goddess aura surrounding Ms.Turner, no. But is it worth seeing, anyway? Most definitely: yes.