You are an excellent actress, Madame. My compliments. You were very well trained.Paris 1928. A suicidal amnesiac (Ingrid Bergman) whose resemblance to the Grand Duchess Anastasia Nikolaevna of Russia, the youngest daughter of Tsar Nicholas II and Empress Alexandra, widely rumoured to have survived the family’s execution in 1918 – is drawn into a plot devised by the former Russian White General Bounine (Yul Brynner) and his associates to swindle from the Grand Duchess an inheritance of £10 million. However, the ultimate hurdle to their plan is the exiled Russian aristocracy — in particular the Dowager Empress Marie Feodorovna (Helen Hayes) who is of course the grandmother of the royal family and whom their handpicked claimant must convince of her legitimacy if they wish for their scheme to succeed. After ingratiating herself with the Dowager Empress, Anastasia aka Anna Anderson (the name Bounine invents for her) is preyed upon by the fortune-hunting Prince Paul (Ivan Desny) and Bounine becomes jealous … Director Anatole Litvak would only agree to making this film if Bergman was cast and she’s ideal in a role that is all about impersonation and performance. It marked her triumphant return to Hollywood following her association with Roberto Rossellini which had her denounced from pulpits. Arthur Laurents adapted Marcelle Maurette’s stageplay (Prince Paul is an invented character) and it’s immaculately constructed with the scenes between this pretender and her grandmother a standout at the film’s centre, the masterful ladies of the cinema facing off in a film that is all about acting. Martita Hunt is a standout in the supporting cast as the Dowager’s lady in waiting, Baroness Elena. Bergman picked up the Academy Award and her place in American cinema was secure. The play is over. Go home.