35mm, rewatched. Two moments, linked to Joan Fontaine, are magnificent: when she knows by telephone her husband's bigamy situation and the end in court. In both, the camera does a backward traveling, delivering the character to a spatiality of (her) anguish. The rest is a classic film about an unusual theme in the time of Hays code, made by an alternative studio. Ida Lupino is my favorite actress of this period.