A Stolen Life 1946 123movies

Watch: A Stolen Life 1946 123movies, Full Movie Online – Kate Bosworth and her twin sister Patricia fall in love with Nantucket lighthouse inspector Bill Emerson. Patricia and Bill are married. To forget, Kate returns to painting. Bill goes to Chile; Kate and Patricia go sailing; Patricia is washed overboard and drowned. Kate’s boat capsizes and, when she recovers consciousness ashore, she (believed to be Patricia) is told that Bill is returning from Chile..
Plot: A twin takes her deceased sister’s place as wife of the man they both love.
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Ratings:

	7.2/10 Votes: 3,769
	N/A | RottenTomatoes
	N/A | MetaCritic
	N/A Votes: 37 Popularity: 4.388 | TMDB

Reviews:

One of the most compelling one-offs of the 1940s (possible spoilers)
As a conventional Bette Davis melodrama, ‘A Stolen Life’ would already be fantastic and compelling. All the elements are here – thwarted love, self-sacrifice, betrayal, humiliation, cruelty, romance, promiscuity, death – for an emotional pulveriser, with Bette as the sweet, timid, patrician artist, Kate, who finds love with a simple, straightforward lighthouse engineer, Bill, and promptly loses him to her sexually sophisticated sister, Patricia. The film literalises the cliche on which it is based, by opening with Kate just missing the boat that is supposed to bring her to the island; this cliche is developed when her sister literally misses the boat, and provokes the strange sequence of events that gives the film its title.

However, there are a number of slightly crazy elements that make ‘Life’ more than a conventional Bette Davis movie, and link it to two of cinema’s most important films. For a start, Bette’s sister is played by Bette herself in an inventive feat of trick editing that rarely betrays joins. This duality allows Bette to have some acting fun with her two stock roles, the more Victorian martyr in love, and the hyper-confident, modern woman who tosses aside weak men and inadequate women. This duality is in itself a comment on the formulaic nature of Davis’s films generally (as she herself thought).

it fits in neatly with the pseudo-Freudian thrust of the film – Kate is a virgin, a sexual child, who must acknowledge her physical nature as well as her more intellectuual one, before she can become a whole woman and enter into an adult relationship. In this sense, the film isn’t realistic – the two sisters represent different aspects of the one character; going too much in either direction is dangerous and self-destructive. This synthesis is actually much more sensible than the pucelle/putain dichotomy the film originally seemed to be peddling.

But what if we adjust the narrative focus somewhat, and look at the story from Bill’s point-of-view. The plot encourages us to do so – Kate has to explore HIS phallic lighthouse; the film, especially in its crucial early stages, relies more heavily on his point of view shots, looking down on Kate, fixing her, neutering her power with his gaze.

Bill is suddenly faced with two identical sisters, women who seem to be the same person, but represent different aspects of female sexuality. This is the starting point of Bunuel’s last masterpiece ‘That Obscure object of desire’, and if Kate is cast adrift by love, than look at what it does to Bill, smashing his self-absorbed, insensitive, self-satisfaction as completely as Fernando Rey’s.

Bernhardt takes this further – by repositioning the doubling from the heroine’s point of view, the males get to be split, with Karnock the artist, his sexual ferocity linked to his artistic temperament (there is a lot of interesting bunkum about what Art Should Be – Karnock is part-Jackson Pollack, part-cinema verite pioneer), reflecting the mild Bill’s darker urges that leads him to abandon Kate in the first place.

The other great film ‘Life’ points to is Hitchcock’s ‘The Birds’ – here too, a sophisticated, but sexually naive young woman leaves ‘civilisation’ for an island, stirring up all kinds of horror-tinged crises (the doppelganger is a conventional horror trope). As with ‘the Birds’, objective narration and subjective point of view are cunningly blurred. The happy ending here is undermined, not only by its wish-fulfilment implausibility, but in the fact that it comes straight after Kate going up to her bedroom – it could conceivably be a dream; she certainly hears voices.

The film is full of carnivalesque moments (the dance, the art exhibition) where emotional crises are ritualised in formal environments; while there is an awesome, ‘Alice’-like sequence, where Kate as Pat is going up to her sister’s room for the first time and approaches a mirror- it is her reflection, and not her bodily reality, that finishes the journey. This is where ‘Life’ is especially brilliant, as a ghost story, with a living person impersonating a corpse, with a ghost taking over a survivor’s personality; where one person freefalls into another’s identity, while forced to hear people speak of HER as if she were dead. This final quarter is a sadistic masterpiece of psychological delirium.

Other Information:

Original Language en
Runtime 1 hr 49 min (109 min)
Budget 0
Revenue 0
Status Released
Rated Passed
Genre Drama
Director Curtis Bernhardt
Writer Catherine Turney, Margaret Buell Wilder, Karel J. Benes
Actors Bette Davis, Glenn Ford, Dane Clark
Country United States
Awards Nominated for 1 Oscar. 1 nomination total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono (RCA Sound System)
Aspect Ratio 1.37 : 1
Camera N/A
Laboratory N/A
Film Length N/A
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm