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Plot. Brad Collins, a San Francisco shipping executive, has recently married Nan Lowry after a whirlwind one-week courtship. During their honeymoon the couple meet Christine Norman, an old flame of Brad's whom Nan immediately dislikes. Brad had once been a stevedore in New York, but rose from the San Francisco waterfront to become a respected ...
The Woman on Pier 13: Directed by Robert Stevenson. With Laraine Day, Robert Ryan, John Agar, Thomas Gomez. Successful, newly married Brad Collins once belonged to the Communist Party of the USA, and now the Party will stop at nothing to use him.
- (1.5K)
- Crime, Drama, Film-Noir
- Robert Stevenson
- 1950-04-29
The Woman on Pier 13 (1949) was previewed in Los Angeles and San Francisco in 1949 under the title I Married a Communist but, owing to poor polling among preview audiences, this was dropped prior to its 1950 release.
The Woman on Pier 13 (AKA: I Married a Communist) is directed by Robert Stevenson and collectively written by Charles Grayson, Robert Hardy Andrews, George W. George and George F. Slavin. It stars Robert Ryan, Laraine Day, John Agar, Thomas Gomez, Janis Carter, Richard Rober and William Talman.
Mar 31, 2021 · The Woman on Pier 13. 1949. ★★½. 31 Mar 2021. noir1946’s review published on Letterboxd: This film comes from the period of anti-communist hysteria, and while its politics may be questionable, it is well-made and reasonably fast-paced. It is perhaps the best of the red-scare noirs.
- Robert Stevenson
Originally titled I Married a Communist, The Woman on Pier 13 is an asinine Red Scare noir in which the communist party is the mafia, only worse. Their murderous agents have infiltrated every imaginable facet of American industry, including carnival workers.
Abstract. Part one of this chapter examines the production history of The Woman on Pier 13 to highlight the ideological mutability of the film’s ostensible, “right-wing” agenda, one endorsed by RKO’s head of production at the time, Howard Hughes. Part two aims to counter the claim that the anticommunist noir is without aesthetic ...
