“SEX, SAND, AND SECRETS”

By Raymond Benson

The attitudes toward sex in the U.S. in the 1950s were pent-up and frustrated, and they sat in a tinderbox. This is reflected in the cinema of the time, often overtly in noir and crime dramas, or in melodramas such as Rebel Without a Cause.

Here we have a 1955 melodrama/crime picture starring the inimitable Joan Crawford, who, in her 50s herself, still looks smashing and has no qualms against displaying in short-shorts the magnificent dancer legs she was known for throughout her career. It’s quite possible that Crawford took on this role to say to the world, “Hey, I’m still desirable, just watch me.” There is that brazen exhibitionist quality in her performance, and it suits the steamy, somewhat sordid storyline of Female on the Beach.

Crawford is Lynn Markham, a widow who visits a beach house somewhere (Florida? California?—it isn’t clear) that her deceased husband had owned and was renting to a wealthy woman named Eloise Crandell (Judith Evelyn). Lynn, who has never been to the house before, is considering selling it, so she has arranged for Crandell to move out prior to Lynn’s arrival. Little does Lynn know, but Crandell was involved in a hot love affair with beach bum and boater Drummond Hall (Jeff Chandler), and things went terribly wrong. The night before Lynn’s arrival, a drunken Crandell fell from her terrace and was killed on the sandy rocks below the house. Was Hall responsible? We don’t know. Realtor Amy Rawlinson (Jan Sterling) seems to be protecting Hall and has lied about the house, Hall’s relationship with Crandell, and the goings-on around the beach community. Oddly, Hall resides either on his boat, which is docked at the Markham peer, or with the Sorensens (Cecil Kellaway and Natalie Schafer), the elderly couple who live in the next house over and who apparently like to bilk wealthy widows with rigged card games. Despite the numerous red flags that Lynn receives, including a revealing diary left behind by Crandell and warnings from police lieutenant Galley (Charles Drake), Lynn also begins a torrid love affair with the handsome and hunky Hall… uh oh!

Joseph Pevney directs the tale from Robert Hill and Richard Alan Simmons’ screenplay with earnest passion, punctuated by a plaintive musical score (the composer is uncredited). The actors give it their all, and Crawford and Chandler have the sufficient chemistry to pull it off.

The problem with Female on the Beach is the believability of Lynn’s actions. It’s obvious that Hall is trouble from the get-go. He even arrogantly puts the moves on her against her wishes (the #MeToo movement would have had a field day with this picture if it had existed in the 1950s), and apparently “No” didn’t mean “No” in those days. After near-violent resistance on Lynn’s part, she of course succumbs to Hall’s aggressive advances and, well, enjoys it. Okay, if you say so. Additionally, once the “mystery” is resolved regarding whether Crandell died by accident, suicide, or murder, there is very little surprise attached.

Still, Female on the Beach is an entertaining potboiler that shines a light on the social mores of the day. Kino Lorber’s high definition restoration looks remarkably good in its sharp and clear widescreen black and white, with optional English subtitles for the hearing impaired. The film comes with two audio commentaries—one by the always interesting film historian Kat Ellinger, and one by film historian David Del Valle and moderated by filmmaker David DeCoteau. Supplements include an animated image gallery of promotional material, plus the theatrical trailer for this and other Kino Lorber releases.

So, get out your cocktails, turn out the lights, and snuggle up for some high temperature action and romance with Joan Crawford and Jeff Chandler; just be sure to take a few spoonfuls of suspension of disbelief.

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