“They said it was shameful that I should love him — as if you could stop loving because it’s shameful to love.”
Genres, Themes, Actors, and Directors:
Meanwhile, Kelly (early in his career) seems equally cast against type in a slippery role as a charming husband who turns out to be not only a Mamma’s boy but a convincing liar.
The storyline starts slowly and somewhat mysteriously, leading us to believe that we’ll be watching a film primarily about Harens’ cruelly jilted G.I.:
instead, Harens turns out to be merely a side-note in the much darker tale told by Durbin in flashback. At this point, viewers discombobulated by Durbin’s jaded initial appearance on screen may be temporarily renewed to see her as a familiarly fresh-faced young woman falling for Kelly, who only gradually realizes that he’s not all he seems to be. Gale Sondergaard is quietly menacing as Kelly’s deceptively inviting mother, and Durbin herself reveals surprising depth and nuance while portraying her character’s mounting confusion and suspicion. Atmospheric cinematography and a firm directorial hand by Siodmak make this unusual flick worth checking out once, if simply to see its stars in the most atypical roles of their careers.
Redeeming Qualities and Moments: