|The Tarnished Angels|
|Directed by||Douglas Sirk|
|Produced by||Albert Zugsmith|
|Written by||George Zuckerman
Based on a novel by William Faulkner
|Music by||Frank Skinner|
|Editing by||Russell F. Schoengarth|
|Distributed by||Universal International|
|Release date(s)||January 6, 1958|
|Running time||91 minutes|
Disillusioned World War I flying ace Roger Shumann (Stack) spends his days during the Great Depression making appearances as a barnstorming pilot at rural airshows with his parachutist wife LaVerne (Malone) and worshipful son Jack (Christopher Olsen) and mechanic Jiggs (Carson) in tow.
New Orleans reporter Burke Devlin (Hudson) is intrigued by the gypsy-like lifestyle of the former war hero, but is dismayed by his cavalier treatment of his family and soon finds himself attracted to the neglected LaVerne. Meanwhile, Roger barters with wealthy and aging business magnate Matt Ord (Robert Middleton) for a plane in exchange for a few hours with his wife. Tragedy ensues when Jiggs' anger about his employer's refusal to face family responsibilities causes him to make a rash and fatal decision. He manages to start Shumann's aircraft, with some difficulty, but the plane crashes and Shumann is killed. After rejecting and then reconciling with Devlin, LaVerne returns to Iowa with son Jack.
The Universal-International film reunited director Sirk with Robert Stack, Dorothy Malone, and Rock Hudson, with whom he had collaborated on Written on the Wind two years earlier. Stack and Malone played brother and sister in their previous appearance together, with Malone's character infatuated with Hudsons.
Sirk chose to shoot Angels in black-and-white to help capture the despondent mood of the era in which it is set. Faulkner considered the film to be the best screen adaptation of his work.
In his review in the New York Times, Bosley Crowther said the film "was badly, cheaply written by George Zuckerman and is abominably played by a hand-picked cast. The sentiments are inflated — blown out of all proportions to the values involved. And the acting, under Douglas Sirk's direction, is elaborate and absurd."
TV Guide rates it four out of a possible four stars and calls it "the best-ever adaptation of a Faulkner novel for the screen, directed with passion and perception by Sirk . . . The acting is first-rate here, and the script is outstanding, full of wit, black humor, and occasional fine poetic monologues."