Betrayed

Hooked me completely. The only thing holding the movie back is an ending that fails to live up to the brilliance of what came before it.

As a true mystery, this leaves a bit to be desired. But as a B-grade noir, this hits a lot of the standard checklist points with a whirlwind marriage, a very mysterious husband, and a lot of evidence pointing to a crime.The short running time helps explain away so many coincidences, and the atmosphere of the trying-not-to-be-found sequence is decent enough. Not top of the class, but one of the best of the rest.

An easily approachable mystery where there's enough of everything. Not the most refined of noirs but its compact format and simplicity hold their advantages.

Em honra do centenário de Kim Hunter. Noir bastante sólido do Castle, pegando carona na onda "homem errado" hitchcockiana, na época o Mitchum não era estrela ainda, então era fácil ser enganado pela narrativa, mas pra gente calejado em Mitchum, de cara a gente já sabe como o filme termina. Box Versátil Filme Noir Volume 16.

Young Robert Mitchum as a mysterious gentleman helping a newly wed girl find out about her stranger husband. Attractive in parts, but it was still early days for most involved so it wasn't tweaked to perfection. Still a good attempt at something Hitchcock-lite.

Predominantly uninteresting, but with a very clever twist near the end.

An off-kilter and mysterious noir with a lot of character. There's a slight feeling of oddness that underlies everything and helps the film stand out. It's plain to see just how influenced thrillers already were by Hitchcock's work, as this one is clearly indebted to "Shadow of a Doubt" and "Suspicion".

The Mitchum biography "Baby, I Don't Care" paints this as one of the most original film-noirs, an unknown unheralded classic. I guess it is more surreal than most, with some really nice lighting. The young Mitchum is captivating.

Taught fun movie whose small flaws add to the charm. Castle's playfulness is infectious and he has quite the ability to capture expressions and shadows perfectly.The downright cheery scenes bathed in light get magnificently undercut with the darkness that increasingly creeps into the film and muddles this bizarre love triangle. Some pieces fit a little too conveniently, and in a lesser film I might pick at them, but they fit the mood so perfectly they're easy to ignore. Perfectly imperfect.

Maybe the closest thing in classic noir to a David Lynch movie. Everything about it is slightly off-kilter and over-the-top. It's not exactly surreal, just weird and mysterious. You could chalk some of this up to the cheapness of the film, but who cares when the effect is so potent? Yes, there is a silliness to the script, but almost every scene brings something unusual or unexpected or just plain cool. Maybe the often illogical turns are "bad writing", but it only made me love the movie more.