Lady on a Train (1945)

Great Film overall

Although it has its amusing moments, in eneral the plot does not convince.

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

. . . with THE GIRL ON THE TRAIN (the 2016 Emily Blunt flick based upon Paula Hawkins' 2015 novel), since I'm the only person that they know who has seen both movies. Most of my circle assumes that the show that they've actually watched--GIRL--is far more violent than LADY ON A TRAIN, since GIRL is more recent and people are getting offed with rocks and corkscrews during its story. However, LADY does not restrict itself to just polite Edwardian stranglings and Rat-a-Tat-Tat firearm slayings. During LADY a crowbar also gets a homicidal star turn. And while GIRL has two or three "red herring" candidates for the so-called "Real Killer" witnessed by a female train passenger (Blunt's Rachel), LADY's "Nikki" (Deanna Durbin) has at least FOUR bogus murder suspects to muddle her ability to finger the killer she window-peeped from HER Choo-Choo. LADY's perky heiress Nikki certainly seems to have a leg up on the depressed divorcee "Rachel" of GIRL (especially when it comes to singing talent). Though some may wince at GIRL's title, and find it demeaning if not misogynistic, LADY includes a racist reference to a person of Japanese Origin just 10 minutes or so into its convoluted tale. This, however, should be blamed upon what was then known as the U.S. Department of War, which legally forced ALL American movie studios to include such "morale-boosting" language in each and every American flick of the World War Two Era.

Ace combo of a bouncy Durbin, a complex murder mystery, noirish lighting, and of course, tuneful songs. I only hope Durbin survived that brain-sucking hat she wore to the snooty nightclub. It looks like it's about to consume her head. But then women of the time weren't considered well dressed without commanding headwear. And some are real doozys. Good thing fashions change. It's a complicated whodunit, with a houseful of suspects. Margo (Durbin) witnesses a murder and decides, in good 40's fashion, to do some amateur sleuthing, which takes her into the jaws of danger since bodies keep piling up. Durbin may get high-key lighting for her tunes, but otherwise she navigates a shadowy world worthy of Edgar G. Ulmer. I like that packed movie theatre that Margo sabotages with her constant seat changes. Takes me back to theatres of years ago.Director David keeps things moving such that the congested plot passes effortlessly. Too bad Durbin left the business so soon. Given half-a-chance, she's a sparkling presence, perfect for light entertainment, such as this. Too bad most folks don't know what a star she was for an all-too-brief period from the 30's to the 40's. Anyway, she shines here as a young adult in an entertaining blend typical of the time. Plus, it's one that still engages....

Nikki Collins loves mystery novels. When we first see her, she is finishing a book by her favorite crime author, Wayne Morgan. As she looks out the train's window at a stop, probably 125th Street, Nikki sees a murder taking place in a building across from her. She is horrified, but being a determined young woman, she will do everything possible in order to solve the puzzle.In fact, Nikki gets the thrill of her lifetime when she finds herself in the middle of the family of the man that was killed. Nikki enlists Wayne Morgan, who is reluctant to help, but he eventually comes around to assist her find the real culprit, who in fact, is closely connected with the Waring family. The final moments will find Nikki exactly in the same room where the original crime was committed. In the process of her solving the case she even gets the hunky Wayne Morgan! "Lady on a Train" seems to have been a sort of valentine from director Charles David, who was in fact the husband of the star of the picture, Deanna Durbin, and whose marriage to her lasted almost a half a century, something not quite usual among show biz folks. This film was a discovery when we first saw it because it has a lot going for it, and on second viewing still keeps our interest.Deanna Durbin stopped making films a few years after this picture was completed, a sad loss, indeed, for all her fans. Ms. Durbin projected a wholesome figure with a lovely voice to match. We are able to hear her sing three songs: "Silent Night", "Give Me a Little Kiss", and an amazing rendition of "Night and Day".The supporting cast does a good job for the director. Ralph Bellamy and Dan Duryea play a couple of brothers resentful of being left out of their murdered uncle's fortune. David Bruce appears as the mystery writer. Edward Everett Horton has a small part, but as usual, he was a welcome addition to everything he was asked to do. William Frawley, Allen Jenkins, George Colouris, and Elizabeth Petterson are also featured.Woody Bredell contributed with his excellent black and white cinematography and Miklos Rozsa composed the musical score that goes well with the action.An enjoyable film that should not be missed by fans of Ms. Durbin.

This was the first Deanna Durbin film I've seen, and while it's much different than her other films, it seems a great place to start! The first thing that struck me was how likable Ms. Durbin is in the lead role. She keeps the tone light and airy, and the film flies along at a joyous speed! The photography is amazing (the snowy Manhattan sets and Ms. Durbin's close-ups are wonderful!) Deanna's vocals on "Night and Day" hint at a sensuality that wasn't present in her other pictures, and her rendition of "Silent Night" is divine.I won't summarize the plot, as it has been done in other comments, just suffice to say that this hilarious whodunit is perfect viewing while curled up with a hot drink on a snowy winter evening!