director Phil Goldstone
Unfairly obscure, Phil Goldstone’s The Sin of Nora Moran really deserves to be seen by more. The gorgeous Vargas movie poster (considered by many to be one of the most beautiful of all time) doesn’t seem to help it get seen more, at least as yet. The poster is gorgeous.
This Poverty Row proto-noir pre-code flick is perhaps far from perfect, but it has many fascinating elements, most notably its montages and editing, set in prolonged flashbacks. The striking Zita Johann stars as Nora, a girl orphaned twice, who turned to dancing and showbiz before finding herself raped by a lion tamer. And that is just the beginning.
The story unfolds in flashbacks, related by a DA (Alan Dinehart) to his sister, telling the wild tale of a lost girl who wasn’t half as tawdry as suspected. Really, she had a heart of gold (this was the Depression, of course). Her story unfolds at times as delusions she undergoes via morphine doses to calm her nerves as she sits on Death Row for a crime she did not commit but will go down for.
It’s Zita Johann and the crazy quilt montages that really deliver the film from middling mediocrity and rise it to some Hollywood version of Dziga Vertov and pop culture Surrealism. When the montages come, they come fast and furious, vivid and surprising, extremely unusual.
Goldstone was a longtime producer who only directed a dozen films, mostly in the Silent Era. Was this inventiveness his? Or some collaboration with editor Otis Garrett? Or who knows what kind of alchemy made it possible?
Really a remarkable little picture.