The Locket

This article is about the 1946 film. For other uses, see The Locket (disambiguation).
The Locket

Theatrical release poster
Directed by John Brahm
Produced by Bert Granet
Written by Sheridan Gibney
Starring Laraine Day
Brian Aherne
Robert Mitchum
Gene Raymond
Music by Roy Webb
Cinematography Nicholas Musuraca
Edited by J.R. Whittredge
Distributed by RKO Pictures
Release dates
  • December 20, 1946 (1946-12-20)[1]
Running time
85 minutes
Country United States
Language English
Box office $1,750,000 (US)[2]

The Locket is a 1946 film noir directed by John Brahm, starring Laraine Day, Brian Aherne, Robert Mitchum, and Gene Raymond, and released by RKO Pictures. The film is based on a screenplay by Sheridan Gibney, adapted from "What Nancy Wanted" by Norma Barzman, wife of later-blacklisted writer Ben Barzman.[3] It is noted for its complex use of layered flashbacks (flashbacks within flashbacks) to give psychological depth to the narrative.


A story told in a number of flashbacks from different points of view, this psychological drama tells the story of a bride-to-be (Day) who, as a child, was falsely accused of theft. She grows up to become a kleptomaniac, inveterate liar, and eventually a murderess.

Apparently, all her misdeeds are an attempt by the woman to get her revenge on the world that has falsely accused her of stealing as a child by ruining people's lives. After splitting up with an artist (Mitchum), and her psychiatrist husband (Aherne), she becomes engaged to the son (Raymond) of the woman who had accused her of thievery. Back in the present day, at her wedding, the young woman collapses physically and mentally as she walks to the altar.




Critical response

When the film was released the staff at Variety magazine praised the film, writing, "Story carries the flashback technique to greater lengths than generally employed. The writing by Sheridan Gibney displays an understanding of the subject matter and proves a solid basis for the able performances achieved by John Brahm’s direction. Latter gears his scenes for full interest and carefully carries forward the doubt – and audience hope – that Nancy is not the villainess."[4]

Film historians Alain Silver and Elizabeth Ward praise the unusual melodrama in the RKO visual style. "It is distinctive in its flashbacks within flashbacks, with the story often being told by a third or fourth person removed. This device is handled effectively in preparation for the climactic flashback, which reveals the truth."[5]

Film critic Dennis Schwartz gave the film a mixed review, writing, "A psychological drama about a woman with a dark secret from her childhood that is carried over to her adult life. It's a post-war baroque melodrama, creaky as wooden steps in a mildewed house ... It was too wooden a presentation to generate anything but a few sparks ... It's a somber story, with a lot of heavy-handed things going on. The complexities of the heroine's character were well presented. The analyst's comments about her stealing to get even with Mrs. Willis seemed to be a reasonable explanation, if taken at face value ... The Locket only had some glitter but not enough substance. Though, as muddled as it was, it still kept me alert wanting to know what gives. The problem is I never satisfactorily found out what gives."[6]



  1. "The Locket: Detail View". American Film Institute. Retrieved April 30, 2014.
  2. Variety 7 January 1948
  3. The Locket at the Internet Movie Database.
  4. Variety magazine, film review, 1946. Accessed: July 11, 2013.
  5. Silver and Ward, Film Noir An Encyclopedic Reference to the American Style, The Locket, page 173. The Overlook Press, 1992. ISBN 0-87951-479-5.
  6. Schwartz, Dennis. Ozus' World Movie Reviews, film review, April 29, 2000. Accessed: July 11. 2013.

Additional references

  1. George Toles, "The Gift of Amnesia in John Brahm's The Locket" in the Film and the Romantic special issue, Jeffrey Crouse (ed.), Film International, Vol. 7, No. 6, December 2009, pp. 32–55.
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