A man is found murdered, with witnesses convinced about the woman they saw leaving his apartment. However, it becomes apparent that the woman has a twin, and finding out which one is the killer seems impossible.
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A woman suspected of murdering her doctor boyfriend has an identical twin sister. When both twins have an alibi for the night of the murder, a psychiatrist is called in to assist a detective in solving the case. Through a series of tests, he discovers which twin actually committed the crime and in the course of his investigation he falls in love with the normal twin. Written by
Neil Doyle <Doylenf@msn.com>
The postwar interest in Freudianism (probably precipitated by returning veterans suffering from shell-shock) was, in Hollywood, put to facile and often sinister ends. The Dark Mirror is no exception, despite the talents of scriptwriter Nunnally Johnson and director Robert Siodmak. Simply put, De Havilland plays a woman and her "evil" twin (though they use the word "insane"). When it's first revealed, in the investigation of a murder, that the two (Ruth and Terry) are dead ringers, the orchestral score chortles with little musical jokes at the expense of police detective Thomas Mitchell (who is wasted). Luckily the tone darkens towards the middle of the movie and De Havilland rises from blandness to effective histrionics -- could she scowl! -- at least in her evil incarnation. Inadvertently amusing are the name-necklaces and monogram pins the twins sport, undoubtedly to orient the audience. These big-city dames traipse around like high-school girls, lugging huge "T"s and "R"s on their tailored suits.
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