Here's an interesting example of the problem with some old movies. A certain kind of formalism sometimes pervaded films back in the day. This is especially true of mysteries, where the inclination to take shortcuts through exposition can be irresistible--a path that can create stilted scenes and dialogue. That's what you get here, particularly early in the picture. It makes for a doubtful viewing experience for about the first half of the film. Thankfully, the story picks up a lot of steam in its second half, driven particularly by a strong, understated performance from Joseph Cotten. By the time you get to the denouement, the story wraps up in in an enjoyable final set piece. Put that together with some fine set design, atmospheric exterior scenes that really set the mood late in the game, and solid performances by the other principals--Boyer is arch, Bergman is good in a rangy role (and looks spectacular as usual)--and the ultimate result is a flawed but mostly enjoyable film that just edges its way up into the realms of recommendation,
