InformationRap This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

Hadrina The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Roman Sampson One of the most extraordinary films you will see this year. Take that as you want.

Zlatica One of the worst ways to make a cult movie is to set out to make a cult movie.

boblipton Nurse Margaret Lockwood is acquitted of killing her patient by poison -- we see the woman commit suicide, so that's fine. However, when her next patient dies under almost identical circumstances, can she escape the hangman's noose? Twentieth Century-Fox spared no expense for their British production of this movie. They hired director Carol Reed and a fabulous cast, including Margaret Lockwood, Barry Barnes, Emlyn Williams, Roger Livesy, Basil Radford.... well, the list of performers whose name you'd recognize goes on and on. Sidney Giliat wrote the screenplay. Unfortunately, there are some problems with that script. There is never any doubt as to Miss Lockwood's innocence, and the attempt to do a Hitchcock-style thriller is weakened, both by the lack of Hitchcock's black humor and much of a sense of trying to hide from the police. Most of the actual action takes place while Miss Lockwood is in prison and on trial.Without comparing it to other works, how does it stand on its own, as a mystery and courtroom drama? Pretty good. There seems a very real chance until the very end that Miss Lockwood will be found guilty, and the way she is acquitted is very clever. All the performers do a fine job and Carol Reed's direction is impeccable. I might have been happier if her guilt had been left in doubt; from my viewpoint, not showing the first patient kill herself might have better served the movie's suspense. However, there is still plenty of excellence to go around.

David Frieze A young nurse who has been acquitted of poisoning her employer manages to find work under another name - and is accused of murder, by the same method, a second time. We know the guilty parties well in advance, and the solution of the crime by the nurse's attorney owes more to luck and intuition than to detection. There's no chase scene, no romance, not a great deal of suspense. From Carol Reed, the same director who made "Night Train to Munich", "Odd Man Out" and "The Third Man", this is a remarkably bland film. Still, it's very smoothly made, everything is focused on the story line, and the acting is uniformly excellent. It's a solid, professional piece of work (and I know that sounds like damning with faint praise), and while there's no urgent reason to see it more than once, it's certainly worth seeing once.

Terrell-4 "Nurse required to attend invalid in quiet Surrey village; 22-26; hospital trained but experience in private nursing essential. Apply sending details and photograph to Mrs. Bentley, Camthorpe House, Camthorpe, Surrey." The advertisement might have added, "Also essential: Nurse must be thought guilty, even though she was acquitted at trial, of murdering a previous invalid in her care."Anne Graham (Margaret Lockwood) had gone on trial for murdering the self-centered, sick woman she had been caring for. Sleeping pills were the means; a small legacy was the motive. Everyone assumed Anne had done it done. A resourceful young barrister, Stephen Farringdon (Barry K. Barnes), was able to plant enough seeds of doubt in the jury's mind to get her off. Even he thinks she might have done it. She now finds she's unemployable. Who wants a suspected murderer for a nurse? Fortuitously, she receives in the mail a newspaper with an advertisement for a nurse. The location is in Surrey, some way from London. She applies, is interviewed, and is hired. She is to take care of a wealthy older man, Mr. Bentley, who is confined to a wheelchair. The man's attractive wife, Mrs. Bentley, is most solicitous. Tracy the butler watches it all. And then we realize that the butler had been present at Anne's trial.As you might suppose, it's not long before Mr. Bentley has died from an overdose of sleeping pills. A codicil to his will gives a small legacy to Anne. And now the police are convinced Anne killed both of her patients. Fortunately, Stephen Farringdon has cast aside his original doubt. He finds himself falling in love with Anne, and he is shrewd enough to think this second murder is a clever plot to make Anne look guilty while the real killers, who now will be wealthy, move on.There are no plot surprises. This is a "How's she going to get out of this" mystery. For the first 35 minutes, we have the set up. For the last 45 minutes, the extrication. Much depends on the appeal of Margaret Lockwood. In the Forties she became one of Britain's greatest stars. It was hard to beat her as a plucky, intelligent heroine or as a manipulating villain. Either way, she was an immensely likable personality. Others in the cast speak to the great depth of acting Britain could put in its films when it chose to. Roger Livesey plays a detective, Farringdon's friend, and he brings a lot of charm to the film. He has that inimitable voice, husky, friendly, and a little skeptical. In small parts, often unbilled, are such fine actors as Roland Culver, Leo Genn, Mervyn Johns, Felix Aylmer and Basil Radford. Unfortunately, the movie suffers because neither the male lead nor the villain strikes many sparks. It's particularly unlikely that Tracy, small, smug and supercilious, would be any woman's hetero heartthrob. And Farringdon is one of those lean, polite, cultured types who seem to think a second glass of sherry might be too exciting for their girl friends. The movie would benefit, in my view, by having two strong, attractive actors dealing with Margaret Lockwood.Carol Reed gives us a clever murder thriller with some nice touches, from a black kitten tugging at the hem of a night dress while a petulant, sick woman slowly creeps her way to the medicine chest, to a humorous bit of misdirection involving a detective and a crook. Reed and screenwriter Sidney Gilliat know how to create characters that have enough detail to be interesting. Gilliat, who with his partner, Frank Launder, either together or separately, either working as writer, director or producer, or in any combination, were responsible for some great Forties movies, too: Green for Danger, The Belles of St. Trinian's. I See a dark Stranger, The Rake's Progress, The Lady Vanishes, Night Train to Munich, among others.

davidholmesfr Core to the plot is the extent to which a justifiable acquittal at a trial nevertheless prejudices the accused's future life. Given modern day concerns over sensational press coverage this is an issue as valid today (probably more so) than it was in war-time Britain. But the film does not follow this line, rather it presents us with a good old-fashioned courtroom drama, culminating in a finale of which Perry Mason would have been proud. Quite how the hero lawyer manages this stretches the judicial imagination somewhat, especially with a flawed witness, whose evidence clinches the outcome, not having to testify from the witness box.Despite these reservations this is an enjoyable enough production which canters along at a good pace without any pretensions to high art. And it was nice to see some early work from two actresses, Irene Handl (particularly malevolent as the first "victim") and Kathleen Harrison, who both went on to greater things in post-war British TV.