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Re: REPEAT PERFORMANCE
We have a run of theatre/show business noirs in the 40s, IIRC beginning with THE HARD WAY, where Joan Leslie is again a woman whose fame causes her to outgrow her marriage (albeit with some "help" from Ida Lupino). We see a strange variant of this in THE MAN I LOVE and NORA PRENTISS, though singing in night clubs doesn't quite have the same power or force that being a big star on Broadway signifies. Neither film wallows much in the atmosphere or the backstage intrigue the way that occurs in REPEAT PERFORMANCE, but other films in the time frame give it a run for its money: A DOUBLE LIFE, THE VELVET TOUCH, BLACK ANGEL. Lupino gets a shot at being the noir notion of a chanteuse ("does more without a voice" than anyone Celeste Holm has ever heard...) and Liz Scott gets several chances to be burdened by love while actively pursuing a career as a "thrush" in I WALK ALONE and DARK CITY. (She "sings" in DEAD RECKONING, too, but that's just a way to use "A" picture glossiness to introduce her.)
And, of course, GILDA, which created such an iconic identity for Rita Hayworth that Welles semi-willingly went along with the studio pressure to have her sing in LADY FROM SHANGHAI even though there's only a passing reference to what her "career" might have been like in Macao and Shanghai before getting hooked up with Arthur Bannister.
And of course Howard Hawks was ga-ga to get Bacall to "sing"--an enthusiasm that was not shared by any of her subsequent directors.
If only someone had shot somebody in ALL ABOUT EVE, it could qualify as well.
I'm sure I've missed several examples of both the "thrush" and the more germane case of the established show business star--I"m sure Dan can fill them in, as well as outline more of the films that feature divorced, about-to-divorce, and estranged couples (paging MARTHA IVERS!). There may be more of these in B-noirs than in the so-called A's.