Doctor Ralph Morgan calls at Basil Rathbone's home. His patient, Rathbone's wife, has died. Morgan is suspicious; she was recovering. He does nothing about it.
His suspicions are justified. Rathbone speaks with his manservant, Martin Kosleck, of how much he despised his rich wife and her stupid town, just like his other victims. They will return to New York, and he to his practice as a psychiatrist. There he is hired to deal with Ellen Drew, a depressed and suicidal socialite whose newspaper boyfriend, John Howard, has his suspicions. His investigations lead him to Morgan, even as Miss Drew marries Rathbone.
Rathbone offers his usual graceful performance as a man struggling with redemption. Most noteworthy of all, however, is Ellen Drew's performance as someone suicidal when we first meet her, to someone lighthearted after the ordinary pleasures of Coney Island. Alas, there is no sign of revival of her psychoses at the end, but in that era, endings had to be happy, even in a movie that focuses on Rathbone's attempts to deal with his own dark desires.
Hecht and MacArthur did uncredited work on the script, and they undoubtedly gave the producers what they asked for; neither was director Tim Whelan the man to stand up for a darker vision; he had returned to the US doing work on Korda's THE THIEF OF BAGDAD, and this was his first movie after that. It was no time to antagonize the brass at Paramount.
His suspicions are justified. Rathbone speaks with his manservant, Martin Kosleck, of how much he despised his rich wife and her stupid town, just like his other victims. They will return to New York, and he to his practice as a psychiatrist. There he is hired to deal with Ellen Drew, a depressed and suicidal socialite whose newspaper boyfriend, John Howard, has his suspicions. His investigations lead him to Morgan, even as Miss Drew marries Rathbone.
Rathbone offers his usual graceful performance as a man struggling with redemption. Most noteworthy of all, however, is Ellen Drew's performance as someone suicidal when we first meet her, to someone lighthearted after the ordinary pleasures of Coney Island. Alas, there is no sign of revival of her psychoses at the end, but in that era, endings had to be happy, even in a movie that focuses on Rathbone's attempts to deal with his own dark desires.
Hecht and MacArthur did uncredited work on the script, and they undoubtedly gave the producers what they asked for; neither was director Tim Whelan the man to stand up for a darker vision; he had returned to the US doing work on Korda's THE THIEF OF BAGDAD, and this was his first movie after that. It was no time to antagonize the brass at Paramount.