While well filmed and filled with technical elements that makes film noir a visual treat, the story and structure are messy in a convoluted way that will frustrate many viewers. In a sense, it's a pretentious way of trying to manipulate the viewer to think that they are watching something intelligent when the writers should have been a bit more clear in their efforts to tell a powerful psychological story that makes the lead character, Richard Basehart, question whether or not he has amnesia or a split personality. An early film for avant garde director Joseph Losey that shows promise
He's an American film executive basically blacklisted from the industry who has to go to England to find work and finds himself the possible victim of blackmail thanks to letters arriving from a woman he doesn't even remember meeting. His wife (Faith Brook) goes with him to meet the young lady (Mary Murphy) who claims that they were involved before he got married, and when his wife sees them later on, she assumes the worst. Details about his past in New York are revealed which involves his affair with his boss's wife, Constance Cummings, and this leads to a rather messy conclusion at the studio where he works that had me wondering if I missed something.
Technically, this is excellent, and it certainly rises above the B status. There are some great shadows utilized in the fight scene at the conclusion, but it took so long to get to that point and the viewer by that time is frustrated. Basehart and the three ladies are all quite good, with Murphy showing vulnerability in what otherwise could have been a one-dimensional femme fatale. It's always good to see veteran actress Cummings, and Brook is appropriately anguished as the wife who wonders what is a matter with her husband until all is revealed. But it's one of those films that when all is revealed the viewer may declare it as a major letdown. If anything, it's the film industries dark look at itself as a ruthless and unforgiving business that is the one daring element. Otherwise, a real let down after a unique setup.
He's an American film executive basically blacklisted from the industry who has to go to England to find work and finds himself the possible victim of blackmail thanks to letters arriving from a woman he doesn't even remember meeting. His wife (Faith Brook) goes with him to meet the young lady (Mary Murphy) who claims that they were involved before he got married, and when his wife sees them later on, she assumes the worst. Details about his past in New York are revealed which involves his affair with his boss's wife, Constance Cummings, and this leads to a rather messy conclusion at the studio where he works that had me wondering if I missed something.
Technically, this is excellent, and it certainly rises above the B status. There are some great shadows utilized in the fight scene at the conclusion, but it took so long to get to that point and the viewer by that time is frustrated. Basehart and the three ladies are all quite good, with Murphy showing vulnerability in what otherwise could have been a one-dimensional femme fatale. It's always good to see veteran actress Cummings, and Brook is appropriately anguished as the wife who wonders what is a matter with her husband until all is revealed. But it's one of those films that when all is revealed the viewer may declare it as a major letdown. If anything, it's the film industries dark look at itself as a ruthless and unforgiving business that is the one daring element. Otherwise, a real let down after a unique setup.