Despite some sterling efforts by director and photographer, it is hard to work up much interest in this psychological thriller. The characters are unconvincing - and the stars don't help: Van Heflin goes through his usual motions ("Register shock, Van!"), Janet Leigh lays on the mousey housewife bit with a trowel, Phyllis Thaxter once again does her duty by the worried and sympathetic friend, and Robert Ryan is so hammily obvious a neurotic nut, it's impossible to understand why he was not carted off to the psycho ward the minute he stuck his head out of doors.
The supporting cast is much more realistic and lifelike, with Mary Astor, Taylor Holmes and Berry Kroeger trying valiantly to give their roles depth and conviction - though they are largely defeated by the script. Still, at least they succeed in making their portrayals interesting - which is more than one can say for the star performers.
The actual plot mechanics are dated and old-hat now, but the script could have succeeded - despite its unconvincing characters - had the writers made some effort to preserve the dramatic unities. Here is a yarn that is a natural for a tight time span (say no more than ten or twelve-hours) and for confinement to the environs of a particular locale.
Instead, the story meanders all over the place, introducing superfluous characters at every turn and having no sense of urgency. And then it tacks on a ridiculous, melodramatic climax that conveniently avoids having to deal with the moral or social issues previously raised!
The supporting cast is much more realistic and lifelike, with Mary Astor, Taylor Holmes and Berry Kroeger trying valiantly to give their roles depth and conviction - though they are largely defeated by the script. Still, at least they succeed in making their portrayals interesting - which is more than one can say for the star performers.
The actual plot mechanics are dated and old-hat now, but the script could have succeeded - despite its unconvincing characters - had the writers made some effort to preserve the dramatic unities. Here is a yarn that is a natural for a tight time span (say no more than ten or twelve-hours) and for confinement to the environs of a particular locale.
Instead, the story meanders all over the place, introducing superfluous characters at every turn and having no sense of urgency. And then it tacks on a ridiculous, melodramatic climax that conveniently avoids having to deal with the moral or social issues previously raised!