Ex-bomber pilot (Robert Taylor) with brain damage confesses to the murder of his wife and is committed to an asylum. Pretty blonde psychiatrist (Audrey Totter) tries to help prove his innocence. One of Robert Taylor's best roles. Audrey Totter is certainly attractive but her performance lacks depth. Compare her to Ingrid Bergman from the similar (but superior) Hitchcock classic Spellbound and you'll see the difference between an okay actress and a great one. Herbert Marshall is fine but gives his character one too many shifty glances to maintain any mystery. Nice support from H.B. Warner as a music lover at the loony bin and Vince Barnett as a blackmailer.
The biggest problem with the movie is its predictability. You know from the beginning that, despite his desperate appearance and confession, Taylor is not guilty of the murder. You'll easily figure out who is guilty based on his suspicious behavior. Also the predictable romance between Taylor and Totter is obvious before they even share a scene. This was made during the glamour years of Hollywood -- there's just no way the two prettiest people in the movie aren't going to get together by the end.
What it does have going for it is a dark film noir atmosphere. It is stylishly photographed with shadowy rooms, rainy streets, and dramatic close-ups. Cinematographer Paul Vogel does a great job of making a mid-level melodrama look like a top-shelf noir.
The biggest problem with the movie is its predictability. You know from the beginning that, despite his desperate appearance and confession, Taylor is not guilty of the murder. You'll easily figure out who is guilty based on his suspicious behavior. Also the predictable romance between Taylor and Totter is obvious before they even share a scene. This was made during the glamour years of Hollywood -- there's just no way the two prettiest people in the movie aren't going to get together by the end.
What it does have going for it is a dark film noir atmosphere. It is stylishly photographed with shadowy rooms, rainy streets, and dramatic close-ups. Cinematographer Paul Vogel does a great job of making a mid-level melodrama look like a top-shelf noir.