DCP. A beautiful melodrama "noir", by the articulation between the thriller and a film where the drama consists in the "melo" between human relations. But is not all the melodrama an act of darkness, of loss and fall in the depths of passion, as Buñuel called it in a movie? Sirk return in this film to some of the moods and ambiances of his German films with Zarah Leander, paving the way for all of his 50s perditions.
Nice to see Asians portraying Asians. Hazel Brooks is doing an impression of Veronica Lake, but not very well. Colbert is smashing as usual. She has a somewhat inappropriate relationship with Cumming. Not sure why Cummings is suspicious. Ameche doesn't slip up around him at first. Rita Johnson provides excellent comic relief.
Claudette Colbert, Bob Cummings & Don Ameche get Sirk-cum-sized in this made-by-numbers post-war "women's" movie. Suspension of disbelief won't help you on this one... you need to toss rational thinking totally out the window. If Samuel Morse hadn't already telegraphed his message this movie would have done it for him right along with the plot.
Before his 50's Technicolor women's weepers, Douglas Sirk was a deft hand at norish melodrama, and here he has a good cast, with Claudette Colbert psychologically hypnotized by caddish husband Don Ameche to slowly driver her crazy. "Citizen Kane's" George Coulouris is especially effective as the meek co-conspirator to Ameche.
A great cast in a very good Noir thriller. While the story eventually escapes the bounds of credibility, it holds together much longer that it seems it should have - and even when it gets away, it's a quick sprint to the end so it doesn't diminish the movie much. For most of the movie it's great fun watching these characters plot and scheme and maneuver and manipulate.