The scene is set with a theatrical curtain rising on a picture perfect London: we are prepared for a performance in this Hitchcock thriller, a role-playing and female-centric adaptation of a Selwyn Jepson story by Whitfield Cook and Alma Reville. This was the last of her husband’s films on which Reville would receive a credit for her writing work. (There was some additional dialogue by James Bridie). Hitchcock’s return to his home town after the war is one of his lesser films for Warners but is interesting nonetheless for some of the tropes familiar from his earlier English films – longer takes, point of view shots, the use of performance as metaphor. Not to mention a characterful Marlene Dietrich so louche as to barely bother singing The Laziest Gal in Town. Jane Wyman is the drama student whose best friend Richard Todd runs to her for help on behalf of his mistress, Dietrich, whom he says killed her husband in a flashback that is controversial to this day because he’s lying – he’s The Right Man, as it were. This however could be regarded as another development in the suspense thriller format even if Hitchcock himself said afterwards it was a mistake (people can lie, the camera shouldn’t, even if it’s someone’s version of events …) There’s a lot to love in this ensemble drama of post-war London theatre – Wyman playing a mousy role opposite Dietrich in Dior, Alastair Sim as Wyman’s dad, Joyce Grenfell doing her kooky shtick, Pat Hitchcock as one of Wyman’s fellow students at the Royal Academy of Dramatic Art (where she really studied – and she does the stunt driving for Wyman in the opening scene) and Richard Todd is very good indeed in the role of Jonathan Cooper, the villain. Michael Wilding – Dietrich’s real-life lover (or one of many) – is fine as the policeman convinced of his guilt. Was there ever a more final curtain?