Considering how simple of a tale this is film wise of course makes the almost inconceivable amount of loopholes and meandering questions left as it ends appear far more ludicrous then the overused plot itself.
As it all begins we see a scorned Mrs finding out about her philandering producer husband and his snotty performer mistress. realizing he wants a divorce the wife sometime later goes to the theater and murders his lover mid rehearsal but it's a bank robber who hid in the place that gets blamed for it. The Mr knows better then the law though and he informs her of his plan - to let her stew in the massive guilt she's feeling until she won't be able to take it anymore.
His "master-plan" goes smoothly until the most downright impossible, implacable, mind boggling event occurs and it's laughably bad.
Credit where credit is due Ruth Chatterton (the wife) does manage to pull one impressive performance of a confused desperate soul but alas thanks to the rather appalling manner both main characters are handled in this screenplay I couldn't for the life of me root for either of them not to mention both. If only it was all from Adolphe Menjou's (the husband's) point of view that way at least one could have felt sorry for them making each other miserable and his odd actions would make more sense had we got to see some form of reasoning behind them instead as an audience we're kept at arm's length from what truly goes on.
As it all begins we see a scorned Mrs finding out about her philandering producer husband and his snotty performer mistress. realizing he wants a divorce the wife sometime later goes to the theater and murders his lover mid rehearsal but it's a bank robber who hid in the place that gets blamed for it. The Mr knows better then the law though and he informs her of his plan - to let her stew in the massive guilt she's feeling until she won't be able to take it anymore.
His "master-plan" goes smoothly until the most downright impossible, implacable, mind boggling event occurs and it's laughably bad.
Credit where credit is due Ruth Chatterton (the wife) does manage to pull one impressive performance of a confused desperate soul but alas thanks to the rather appalling manner both main characters are handled in this screenplay I couldn't for the life of me root for either of them not to mention both. If only it was all from Adolphe Menjou's (the husband's) point of view that way at least one could have felt sorry for them making each other miserable and his odd actions would make more sense had we got to see some form of reasoning behind them instead as an audience we're kept at arm's length from what truly goes on.