| Photos (see all 11 | slideshow) |
| Gene Tierney | ... | Ellen Berent Harland | |
| Cornel Wilde | ... | Richard Harland | |
| Jeanne Crain | ... | Ruth Berent | |
| Vincent Price | ... | Russell Quinton | |
| Mary Philips | ... | Mrs. Berent | |
| Ray Collins | ... | Glen Robie | |
| Gene Lockhart | ... | Dr. Saunders | |
| Reed Hadley | ... | Dr. Mason | |
| Darryl Hickman | ... | Danny Harland | |
| Chill Wills | ... | Leick Thome | |
| rest of cast listed alphabetically: | |||
| Guy Beach | ... | Sheriff (unconfirmed) | |
| Audrey Betz | ... | Cook at Robie's Ranch (uncredited) | |
| Olive Blakeney | ... | Mrs. Louise Robie (uncredited) | |
| Ruth Clifford | ... | Telephone Operator (uncredited) | |
| Harry Depp | ... | The chemist (uncredited) | |
| Paul Everton | ... | The judge (uncredited) | |
| Jim Farley | ... | Train Conductor (uncredited) | |
| Betty Hannon | ... | Tess Robie (uncredited) | |
| Kenner G. Kemp | ... | Lounge Car Train Passenger (uncredited) | |
| Hugh Maguire | ... | Lin Robie (uncredited) | |
| Mae Marsh | ... | Fisherwoman (uncredited) | |
| Grant Mitchell | ... | Carlson (uncredited) | |
| Milton Parsons | ... | Medcraft (mortician) (uncredited) | |
| Addison Richards | ... | Bedford (uncredited) | |
| Kay Riley | ... | Danny's nurse (uncredited) | |
| Earl Schenck | ... | Norton (uncredited) | |
| Charles Tannen | ... | Man (uncredited) | |
Directed by | |||
| John M. Stahl | |||
Writing credits | ||
| Jo Swerling | (screenplay) | |
| Ben Ames Williams | (novel) | |
Produced by | |||
| William A. Bacher | .... | producer | |
| Darryl F. Zanuck | .... | executive producer (uncredited) | |
Original Music by | |||
| Alfred Newman | |||
Cinematography by | |||
| Leon Shamroy | (director of photography) | ||
Film Editing by | |||
| James B. Clark | |||
Art Direction by | |||
| Maurice Ransford | |||
| Lyle R. Wheeler | (as Lyle Wheeler) | ||
Set Decoration by | |||
| Thomas Little | |||
| Ernest Lansing | (uncredited) | ||
Costume Design by | |||
| Kay Nelson | |||
Makeup Department | |||
| Ben Nye | .... | makeup artist | |
Second Unit Director or Assistant Director | |||
| Joseph C. Behm | .... | assistant director (uncredited) | |
Sound Department | |||
| Roger Heman Sr. | .... | sound (as Roger Heman) | |
| E. Clayton Ward | .... | sound | |
Special Effects by | |||
| Fred Sersen | .... | special photographic effects | |
Camera and Electrical Department | |||
| E. Truman Joiner | .... | key grip (uncredited) | |
Costume and Wardrobe Department | |||
| Sam Benson | .... | wardrobe supervisor (uncredited) | |
Music Department | |||
| Edward B. Powell | .... | orchestral arrangements | |
Other crew | |||
| Natalie Kalmus | .... | technicolor director | |
| Richard Mueller | .... | associate: Technicolor | |
| Darryl F. Zanuck | .... | presenter | |
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| Gone with the Wind | City of Shoulders and Noses | Big Fish | Giant | A Place in the Sun |
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| News articles | IMDb Drama section | IMDb USA section |
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Can a film noir be effective in glorious colour or is that a contradiction in terms? Anyway I found this lesser-known thriller to be as exciting and involving as any other black-and-white-mean-streets scenario that the 40's threw up. Tightly plotted, well acted and above all, beautifully photographed, I was gripped from first to last. My only caveats might have been the "framing" device of Cornel Wilde's lawyer's top-and-tail introduction and epilogue, which just takes away a little of the dramatic tension, an over-intrusive musical score, particularly at Wilde and Tierney's first "strangers on a train" meeting and also the fact that more wasn't made of the conclusion of the otherwise tautly drawn crucial trial scene. The acting is top-rate, with no discernible weak links. Wilde, as the duped author, shows hidden depths to his handsome exterior, Crain, in a sub De-Havilland part modulates her performance winningly as her character's importance to the plot develops and Vincent Price is absolutely excellent as Tierney's abandoned fiancé, a lawyer on the make who convincingly destroys Wilde and Crain in his vengeful piece-de-resistance as the prosecuting counsel. What a shame he was later reduced to his stereotype cackling mad-man persona of seemingly dozens of horror films. He's a revelation here, almost stealing the movie in said trial scene where he's made to recite long pieces of staccato dialogue which he delivers pitch-perfect. Gene Tierney, of course, is enthralling in the pivotal role of the possessed / possessive Ellen, who uses her obvious beauty and sophistication to ensnare Wilde, before taking off into psychopath territory, which sees her effectively kill Wilde's disabled but adored younger brother and devise an almost perfect beyond-the-grave trap for Wilde and Crain to fall into. Great as all these pluses are, I keep coming back to the cinematography which captures like no other film I've ever seen tones of radiant beauty in almost every shot, both interior and exterior. In fact all I can say to finish is that I could find very little to fault this glorious but unheralded example of the golden age of Hollywood.