A earlier reviewer has pointed out the similarity between this and 'Leave her to Heaven', particularly as regards the obsessive jealousy of Gene Tierney's Ellen and Lilli Palmer's Melanie. It might be worth noting that although John F. Stahl's film predates Rolf Hansen's by eleven years, the novel of Ben Ames Williams from which it is taken was written in 1944 whereas Gina Kaus wrote 'The Devil next door' in 1940. So who pinched from whom?
Plagiarism aside, Stahl's film is an indisputed classic of its type and unlikely to be equalled but Hansen's should not lightly be dismissed for despite an obviously smaller budget it is a stylish, eminently watchable piece played to perfection by some of Germany's finest.
Both Curd Juergens and Lilli Palmer are at the top of their game here whilst the balance to their increasingly toxic relationship is supplied by the warm-hearted Sabine as played by the enchanting Winnie Markus, an actress for whom this viewer has always had a soft spot. The courtroom scenes are excellent, if a little melodramatic and based on the principle that a jury is there to decide who has the better lawyer, the impassioned plea on behalf of the accused is played to the hilt by Hans Nielsen. As Melanie's sister the fascinating Adelheid Seeck makes an impression. Cinematographer Franz Weimayr's lighting has effectively contrasted the angelic Sabine and the devilish Melanie.
Post-war German cinema is a mixed bag to say the least with just a handful of directors offering anything of value. Hansen's film in fact shared the prize for Best Film of the Year with Helmut Kautner's 'Himmel ohne Sterne' which is certainly no disgrace.
Plagiarism aside, Stahl's film is an indisputed classic of its type and unlikely to be equalled but Hansen's should not lightly be dismissed for despite an obviously smaller budget it is a stylish, eminently watchable piece played to perfection by some of Germany's finest.
Both Curd Juergens and Lilli Palmer are at the top of their game here whilst the balance to their increasingly toxic relationship is supplied by the warm-hearted Sabine as played by the enchanting Winnie Markus, an actress for whom this viewer has always had a soft spot. The courtroom scenes are excellent, if a little melodramatic and based on the principle that a jury is there to decide who has the better lawyer, the impassioned plea on behalf of the accused is played to the hilt by Hans Nielsen. As Melanie's sister the fascinating Adelheid Seeck makes an impression. Cinematographer Franz Weimayr's lighting has effectively contrasted the angelic Sabine and the devilish Melanie.
Post-war German cinema is a mixed bag to say the least with just a handful of directors offering anything of value. Hansen's film in fact shared the prize for Best Film of the Year with Helmut Kautner's 'Himmel ohne Sterne' which is certainly no disgrace.