Reviews

  • Apr 15, 2021

    Let's run down a few of the extremely subtle warning signs that Joan Bennett's Celia ignores in her new husband: 1) the funny responses he gives when she describes the misfortune of others, 2) the family he already had that he didn't tell her about until well after they were married, and whom he left to introduce themselves to each other, 3) his previous wife, who perished under mysterious circumstances after her fortune had run out, 4) the shaking of locked bedroom doors when he was one of very few people around, and 5) his literal collection of rooms in which murders were committed. The result of all of this is just a sense of moderate unease on her part; this woman would walk past a dozen construction signs with blinking lights and wonder how she ended up in wet concrete. Though Lang brings a pretty substantial set of visual tricks to give the film some atmosphere, there is little that the acclaimed director can do to salvage this mess of a plot, which is functionally a rip-off of many far better romantic thrillers from the period. Celia is so strangely dense and lackng in character motivation (why does she feel so ridiculously intent on solving this 'mystery' instead of just accepting the fact that her husband is a murderous creep and book the next train outta there?) and Redgrave's Mark is so obviously off-kilter that it just drags the entire film down. There isn't even a superficial element of surprise, apart from Mark's motivations that are revealed at the film's conclusion (and who cares, to be honest?) and Celia's decision-making process, which demonstrates the survival instincts of a lemming running off a cliff. Sub-standard for both Lang and for noir-thrillers. (2.5/5)

    Let's run down a few of the extremely subtle warning signs that Joan Bennett's Celia ignores in her new husband: 1) the funny responses he gives when she describes the misfortune of others, 2) the family he already had that he didn't tell her about until well after they were married, and whom he left to introduce themselves to each other, 3) his previous wife, who perished under mysterious circumstances after her fortune had run out, 4) the shaking of locked bedroom doors when he was one of very few people around, and 5) his literal collection of rooms in which murders were committed. The result of all of this is just a sense of moderate unease on her part; this woman would walk past a dozen construction signs with blinking lights and wonder how she ended up in wet concrete. Though Lang brings a pretty substantial set of visual tricks to give the film some atmosphere, there is little that the acclaimed director can do to salvage this mess of a plot, which is functionally a rip-off of many far better romantic thrillers from the period. Celia is so strangely dense and lackng in character motivation (why does she feel so ridiculously intent on solving this 'mystery' instead of just accepting the fact that her husband is a murderous creep and book the next train outta there?) and Redgrave's Mark is so obviously off-kilter that it just drags the entire film down. There isn't even a superficial element of surprise, apart from Mark's motivations that are revealed at the film's conclusion (and who cares, to be honest?) and Celia's decision-making process, which demonstrates the survival instincts of a lemming running off a cliff. Sub-standard for both Lang and for noir-thrillers. (2.5/5)

  • Feb 18, 2021

    No suspense here ... Redgrave is nuts from beginning to end. And the ending ? He's seconds from strangling Bennett and moments later they're happily on vacation in Mexico again ???

    No suspense here ... Redgrave is nuts from beginning to end. And the ending ? He's seconds from strangling Bennett and moments later they're happily on vacation in Mexico again ???

  • Feb 10, 2018

    1001 movies to see before you die. Some original stuff here. Complete with odd psychological motivations and fascinating intrigue.

    1001 movies to see before you die. Some original stuff here. Complete with odd psychological motivations and fascinating intrigue.

  • Mar 30, 2017

    Must be one of the most absurd movies of all time. Good cast and well directed.but the storyline and dialogue is about as daft as it gets

    Must be one of the most absurd movies of all time. Good cast and well directed.but the storyline and dialogue is about as daft as it gets

  • Dec 13, 2014

    seriously that is a CREEPY hobby

    seriously that is a CREEPY hobby

  • Sep 30, 2014

    A interesting film that has it's strengths but really fails to pull you in for the third & final act. The story of a woman strangely drawn to this mysterious but undeniably dangerous gentleman she meets on her travels abroad. Filled with strange & psychoanalytical performances the story can hide it's many holes. However is has some stunning shots with near perfection lighting, so the look of the film is top notch.

    A interesting film that has it's strengths but really fails to pull you in for the third & final act. The story of a woman strangely drawn to this mysterious but undeniably dangerous gentleman she meets on her travels abroad. Filled with strange & psychoanalytical performances the story can hide it's many holes. However is has some stunning shots with near perfection lighting, so the look of the film is top notch.

  • May 19, 2014

    No wonder I feel it so Rebecca, Suspicion and Spellbound-alike. The Freudian analysis is not much impressive and the mental motivation is not at all interesting.

    No wonder I feel it so Rebecca, Suspicion and Spellbound-alike. The Freudian analysis is not much impressive and the mental motivation is not at all interesting.

  • Dec 25, 2013

    A woman falls in love with a stranger, marries him and moves into his home, where she discovers his peruliar collection that has him reserving a wing of his mansion to reproductions of rooms of famous murders. Interesting and downright creepy concept though the execution is not as original. Lang's filmmaking style is still evident, particularly in some nightmarish sequences, but perhaps the film has more interest in developing its themes than characters or plot in a convincing and entertaining way.

    A woman falls in love with a stranger, marries him and moves into his home, where she discovers his peruliar collection that has him reserving a wing of his mansion to reproductions of rooms of famous murders. Interesting and downright creepy concept though the execution is not as original. Lang's filmmaking style is still evident, particularly in some nightmarish sequences, but perhaps the film has more interest in developing its themes than characters or plot in a convincing and entertaining way.

  • Oct 26, 2013

    Obviously, Lang did not suck at directing. But this. . .this just falls apart. There is some very good tension, but it's all wasted on a nonsensical climax, followed by a brief epilogue that feels horribly tacked on.

    Obviously, Lang did not suck at directing. But this. . .this just falls apart. There is some very good tension, but it's all wasted on a nonsensical climax, followed by a brief epilogue that feels horribly tacked on.

  • Jan 03, 2013

    It's overwrought with its Freudianism but it's stunning visually.

    It's overwrought with its Freudianism but it's stunning visually.