An extraordinary film in so many ways. A woman bewitches a man and ruins his life. Or does he destroy hers? She is Gene Tierney, a performer whose legacy is little recognised today but she had a great run in the 1940s. He is Cornel Wilde, a mild presence at best, perfectly suited as the mediocre writer who doesn’t quite know what he’s getting into by marrying a woman whose father he closely resembles. Or does he? She walks out on her fiance, she marries him instead, kills his crippled brother in a scene that remains one of the best ever filmed and then she kills their unborn child and THEN … frames him for her own murder after she discovers his love for her cousin, brought up as her adoptive sister and to whom he has dedicated his latest book. She might be one of the most evil women who ever lived in anyone’s imagination, or one of the most wronged. After all, didn’t he want her as a muse? And then dragged all manner of people into their domestic environment. She says early on, Every book’s a confession. And he is wanting for inspiration. Jo Swerling was enlisted by fabled producer Darryl F. Zanuck to adapt Ben Ames Williams’ bestselling novel which Tierney read and then petitioned for the role. Amazing houses, wonderful cinematography by Leon Shamroy, sublime costuming (Kay Nelson with a helping hand from Oleg Cassini) and effective direction by John M. Stahl, responsible for so many terrific melodramas. This is framed as a film noir with its flashback narration but really belongs in that genre. Tierney is genius.