Let's be realistic.

How sad is this?

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

This film is so real. It treats its characters with so much care and sensitivity.

I'll just get right to the spoilers.First off we know right from the beginning that the aunt and uncle at the bayou estate aren't her real relatives. This was too easy to figure out. De Toth didn't set it up well enough to make us believe any way else.Second, you know if Elijah Cook Jr. is in the film, he's up to no good. Seein' that he knows all the people in the house and they vouch for him, it was safe to assume that they were all in whatever they were up to.Third...Seeing that the first shot in the film you see is "oil man" and wife drown in submarine accident but the daughter survives. This wasn't to hard to figure out why the fake relatives were at the country estate. MONEY!!!! this is hardly a film-noir. A suspense/drama/thriller..yes. For me, this film wasn't anything to write home about, but at least I can say..." I saw it".

I first saw this film when I was about 12 years old and it scared the living daylights out of me. I saw it again recently on a nice DVD with a print from the UCLA archives and enjoyed it once more with less of the initial reaction of a 12 year old.There are a number of elements in this productions favour.The setting of the swamps and the remote plantation provide generous doses of eeriness for starters.Oberon, whose star was on the decline, is perfect with her very British genteelness and performance of a woman in a vulnerable state. We are given indicators (such as the her discarded telegram) early on, that all is not well - she thinks she in going deeper into madness. She pulls this off very well.I am a huge fan of the orchestral scoring during this period, however the lack of it here, and instead lots of sounds of the swamps, adds generously to the suspense, in addition to a number of nighttime shots.The directors montage at the start of the film is a perfect and dramatic beginning to one of the sleeper suspense films of the period.

I've seen Dark Waters a couple of times and found it very creepy.A young woman who was shipwrecked goes to stay with her aunt and uncle at their mansion deep in the Bayou to recover from her ordeal. The swamps near to the mansion are suppose to be haunted and it isn't long before strange things start happening including strange voices and lights going on and off on their own. She then discovers these people are not her relations but impostors who want her dead and her late family's money. With the help of her doctor, with whom she falls in love with, they try to stop these impostors.Dark Waters is shot well in black and white, which makes it very atmospheric and creepy.The cast includes Merle Oberon, Franchot Tone, Fay Bainter and Elisha Cook Jr. (The House On Haunted Hill).This movie is worth watching if you get the chance. Very creepy at times.Rating: 3 and a half stars out of 5.

The imperiled woman in a great spooky house remains one of Hollywood's most honorable of hackneyed plots. These `jeps' ask us to accept that a woman, usually young, beautiful and sophisticated, sinks deeper into danger despite all the warning signals blinking around her. Still, a few directors have managed to elevate the material a notch or two above the predictable: Jacques Tourneur in Experiment Perilous, Fritz Lang in House by the River, Douglas Sirk in Sleep, My Love. Any hopes that Andre de Toth (The Pitfall, Crime Wave) might work the same black magic crumble, however, with his early Gothic noir, Dark Waters.Merle Oberon – a classic Eurasian beauty but never much of an actor – is the survivor of a ship torpedoed by the Japanese in the East Indies (the ship set out from what the movie calls Batavia but we know as Jakarta). Somehow, she ends up in New Orleans, where an aunt and uncle keep a moldering plantation in nearby bayou country. She arrives there, under the care of a doctor (Franchot Tone; has it ever been remarked that he and Ralph Bellamy share the same set of vocal cords?). But, upon her arrival, we start to suspect , long before she, that ALL IS NOT AS IT SEEMS.The aunt (Fay Bainter) and uncle extend her a back-handed welcome but seem preoccupied; they also seem to get pieces of the family history wrong. In addition, they're under the thumb of their plantation manager (Thomas Mitchell, who of course got his start running Tara) and his weasly assistant, Elisha Cook, Jr. (who does his expected shtik; did he never weary of playing this dumb but cocky chump?).The story advances neither swiftly nor arrestingly. Attempts to `gaslight' Oberon amount to a bedside lamp that switches off then on again, and distant voices beckoning her to the quicksand which studs the surrounding swampland. Slowly, the light begins to dawn behind Oberon's big, perfectly made-up eyes...And that's just about all there is to Dark Waters – hot spells and Spanish moss. De Toth, who was able to peer deep into the background of middle-class complacency in The Pitfall, a few years later, seems to have taken a case of the vapors amid all this languid Louisiana atmosphere. All he comes up with is this slow, flaccid film.