When she has a fight, with her husband, Lucy runs out of the house, and into a night of terror. She heads for the local cinema, and in doing so, becomes the only eyewitness to a couple of ... See full summary »
A clever fortune-hunter with a penchant for murder does in his elderly, supposedly rich, wife and manages to get away with it. After an investigation results in a decision of 'accidental ... See full summary »
Four of Somerset Maugham's short stories are brought to the screen with each introduced by the author himself. In the first story, The Facts of Life, a young man with great potential on the... See full summary »
Inside joke: When the police inspectors are searching the flat at the beginning, they come across some photographs of the dead woman's boyfriends. One comments to the other that they might recognise some of these men from their own rogues' gallery. He pauses, examines one and says knowingly, "John Mills!" Obviously a tongue-in-cheek reference to a certain fellow actor! See more »
The dialogue suggests that the film is set in a coastal resort near Southampton. But the map on the wall of the police station appears to show the Eastbourne area, some eighty miles to the east. See more »
Polly! Pretty Polly! Pity - the one witness who knows all the answers and he won't talk.
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Jean Kent has been murdered in her bedroom. Duncan Macrae and Joe Linnane conduct the investigation by speaking with the people around her.
The gimmick in this movie is that as each of the witness/suspects describes the events, we see it from the speaker's viewpoint... and the character, appearance and behavior of every individual changes according to whose version we are hearing. It's a subjective camera: not a new thing in the movies, but still a novelty. THree years earlier, Hitchcock had misused it in THE PARADINE CASE and the year this came out, Kurosawa directed RASHOMON which seems to assert there is no objective reality.
That's not what's happening here. THe point is to take the subjective realities and winkle out the objective reality behind them. In the course of so doing, we get to see the actors perform their roles in a variety of manners, particularly Miss Kent, who ranges from slattern to aristocrat. In the US, this would have been a vehicle for the actress in the lead role looking for an Oscar. Look! I can do this line as a loose woman! Look, I can do it as as an impoverished noblewoman! And so forth.
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