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I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Very disappointing...

Pretty Good

Don't listen to the negative reviews

This thing is somewhat like Rebecca, in a way. There is an impulsive marriage of a young woman, Celia (Joan Bennett) to a mysterious man, Mark (Michael Redgrave). After the marriage Celia finds out he has been married before, except this time, there is a son by that marriage. And her husband has a personal assistant who is facially deformed and is prone to setting fires. However, Celia is not like Rebecca. She is full of life and not unsure of herself at all.One night, shortly after their marriage, Mark, an architect, talks about how he "collects" rooms as a hobby at a party at their house. Before the guests go look at the rooms, Celia tells the guests how her husband has said in the past that happy occasions are often tied to the rooms in which they occur. However, this tour is not one of happy events, instead all of the rooms are replicas of rooms in which grisly murders have occurred, and the new husband has the murders and the rooms down to the last detail. The look on Celia's face shows that she is suddenly wondering what exactly is going on in the head of that husband of hers.And then one more secret..there is a door where Mark is working away on another replica room where Bennett is not allowed to go. Then one day she manages to get in and finds....I'll let you watch and find out. Let me just say if not for the great visual style of Lang, the fact that Michael Redgrave had a knack for being creepy when he wants to and Joan Bennett could aptly project just about any emotion, and don't forget the score, this thing would have been a total washout, because the ideas are not that original and the ending is just not all that it was built up to be, given all of the wind machines, at least not for me.

The major selling point for me was Michael Redgrave, who, as primarily a stage actor made far fewer films than his talent warranted and this was one that had eluded me. This is not to suggest that either Fritz Lang or Joan Bennett is chopped liver but the name of Ann Revere was also another plus - strangely enough it is only a matter of weeks since I watched Revere in another uncharacteristic role in The Flame Of New Orleans, also directed by a European rather than an American director, in that case Rene Clair. The story here is of course pure hokum and stems from the ridiculous premise that the protagonist would 'collect' entire rooms in which murders have been committed, ranging from the 15th to the 20th century, and ignoring the obvious fact that no two rooms would have had the same dimensions, shapes, furnishings, and how much space would he require for new additions. It's a passable noir that was possibly more effective in 1947.

Rather tepid 1940s thriller. Joan Bennett is beautiful, however, as is the cinematography. Really strikingly shot, which makes it well worth watching; it is reminiscent of Spellbound in parts, with a surreal edge to some of the backdrops.The story, very loosely based on the old Bluebeard fairy tale, is interesting, but the pacing of the film is off, and you never really feel much tension. There are some interesting characters in the house, especially the secretary, but they aren't very developed. So much more could have been done in this area, to make it a truly great film.Without giving anything away, I doubt many of us would have made the same decision that the main characters did in the end. But don't let that distract you from the truly beautiful fashion of this film.

A Freudian thriller from director Fritz Lang. Good performances from Michael Redgrave and Joan Bennett can't disguise the fact that it is a revamp of Hitchcock's Rebecca. The locked doors that Redgrave's character collects equate to the locked part of his mind which his newly wed bride (Bennett) can't reach. This atmospheric thriller is supported by chilling music written by the great Miklos Rosza and shimmering black and white cinematography by Sidney Cortez. Anne Revere and Barbara O'Neil support the leads effectively. An entertaining thriller that tends to get bogged down occasionally by too much psychiatric rhetoric.