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This movie provides some interesting character studies by Aldous Huxley. Charles Boyer portrays Henry, a not very likeable husband to an invalid wife,Emily (Rachel Kempson). He has a very young mistress on the side, Doris, played by Ann Blythe. On the sidelines stands Janet, played by Jessica Tandy, whom Henry flirts with as a matter of course, but she takes it all very seriously and is in love with him. When Emily is murdered, Henry is arrested and sentenced to death by hanging. The second half of the movie deals with the secrets underlying Emily's death. Very well done with one flaw. Ann Blythe seems to start out in the movie as a selfish, manipulative young mistress and her transformation to a caring wife seems a bit of a stretch. Mildred Natwick is superb as a nosy nurse as is Cedric Hardwicke as a doctor who just about effortlessly steals every scene he is in. A true pro. 8 out of 10.

The very annoying Emily (Rachel Kempson) is not in good health. Thankfully, she dies. However, her death is treated suspiciously and number one suspect is husband Henry (Charles Boyer). He doesn't help matters by immediately marrying 18 year old Doris (Ann Blyth) who he has been having an affair with for a few months.

This film has a good cast, especially Jessica Tandy as Henry's friend "Janet", Cedric Hardwick as "Dr Libbard" and Mildred Natwick as "Nurse Braddock". Boyer is good but Blyth is very irritating in a Shirley Temple kind of way. The film drags whenever she is on screen.

The film has many good scenes, eg, when Janet and Henry are in the house sheltering from a violent storm - the use of German Expressionism in this scene (the use of darkness and lightning) will tell you all you need to know. Similarly, another good scene is when Janet visits Henry the day before his execution (the way the scene is framed will stick in your mind). And the scenes between Janet and Dr Libbard towards the end of the film are crammed with tension. I found that the film also had a particularly good moment of philosophical dialogue when Henry verbalized his acceptance of death to Doris.

You will, no doubt, guess who the guilty party is from the beginning but it's still a good film to watch again.

When Charles Boyer's wife, Rachel Kempson, dies prematurely, all suspicion falls on him, especially since they had a bad marriage and he was cheating on her with the beautiful, much younger Ann Blyth. He marries Ann shortly after Rachel's death, but their very adorable bliss is cut short when he gets suspected of murder. It's an easy conclusion to come to; after all, he was in Gaslight!

Aldous Huxley, adapting the script from his short story, has written a thoughtful, exciting, romantic drama, while many other films with a similar plot are just written to be a cheap thriller. If you're tired of the same old whodunnit, check out A Woman's Vengeance. There are many thoughtful speeches about life, death, love, and the preciousness of time, that you'll probably remember long after you watch this hidden gem. Cedric Hardwicke plays the family doctor and friend, and while he isn't particularly warm, he's very intelligent and important to the story. Mildred Natwick plays Rachel's nurse, and although she's very upset about her mistress's death, she was hoping to inherit a broach. Jessica Tandy is a neighbor harboring a long-standing crush on Charles, and her spastic, emotional craze is evident even in her earliest scenes. I might be a little picky, since I have a special relationship with A Streetcar Named Desire, but it felt like Jessica was trying to remind everyone of her success as Blanche duBois.

It's difficult to pick one star of this show, because it's a very good movie all-around, but if there is only one, it's Ann Blyth. Incredibly beautiful and adapting herself to a role different than she'd ever played, she's young without being naïve, uncultured without being un-classy, romantic without being stupid, and sensual without being loose. Every one of those characteristics is difficult to pull off, and they're all necessary for the plot of the movie to be meaningful. Charles Boyer is also very good, giving a sensitive performance rather than an over-the-top performance. Watch this movie. It's exciting from start to finish.

Rachel Kempson is the bedridden, whining wife of rich Charles Boyer. She complains about everything and everyone, and only Mildred Natwick, as her man-hating nurse, seems to sympathize with her. Boyer does what he can in a weary, dutiful manner, but takes pleasure in flirting with next-door neighbor Jessica Tandy on the subject of modern art. He's also got Ann Blyth as an 18-year-old mistress. Then Kempson dies, Boyer marries his pregnant mistress almost immediately, and Miss Natwick insists on an autopsy. It turns out the dead woman was poisoned, and Boyer is on trial for murder.

I thought the first half of this movie was fabulous, with a cast that played it to the hilt, particularly Mildred Natwick, so vilely self-righteous. The problem for me lay in the second half, because I picked out the murderer as soon as the death scene was described, and Hardwicke's pick-pick-picking at the scabs of the other character's souls, beautifully written by Aldous Huxley, and performed though it was, seemed to me long-winded.

That's the problem when you figure out a mystery well before the end, motive, method and opportunity; you spend the time wondering how everyone in the movie (or book) can be so blind. So I spent my time reworking it as a stage play, wondering about the bare minimum of sets. I made it four.

The obvious movie title here rather negates the initial whodunit mystery of who really killed, if indeed she was killed, the troubled invalid wife, Rachel Kempson, of philandering country gentleman, Charles Boyer. It could have been suicide, maybe it was the wife's devoted but jealous, approaching middle-age friend Jessica Tandy or even the waspish nurse Mildred Gatwick but soon enough the fickle finger of blame points squarely at Boyer, who we learn, has motives for murder coming out of his ears. Firstly, he plainly doesn't love his wife, secondly, he's cutting about with his adoring teenage lover, soon-enough his wife, Ann Blyth and thirdly he's just taken out a large death policy on his wife's life.

And die she does, of poisoning, which naturally brings Boyer a world of trouble as he is charged with and goes on trial for his wife's murder. We learn that Tandy carries a bigger torch than Lady Liberty for Boyer and see him reject her advances which certainly lines her up as a woman of vengeance from where I'm sitting. The accused has only one real ally, although considering the help he offers Boyer, we should all have the family doctor, Cedric Hardwicke on our side.

Anyway, I'll leave the plot hanging there lest I give too much away. Unsurprisingly, given the film was adapted from a play of the celebrated novelist Aldous Huxley who also contributed to the screenplay, there are screeds of heavy dialogue with little in the way of backgound music to influence the viewer's perceptions one way or the other. Some of this dialogue is quite weighty and intense but it just as often flounders into unnatural bombast

Director Zoltan Korda steps politely over and around some of the stickier plot-points and unlikely and sometimes fast-changing characterisations. Boyer is good as the love-him-or-hate-him central character, Tandy is even better as the spurned sinister spinster while Hardwicke is solid as the doc who literally clocks what's going on.

Although it's all highly unlikely, I was nonetheless carried along by the sometimes improbable events depicted. Characters exchange a lot of often expository dialogue as the narrative grinds ever further forward and I liked the surprising and unconventional ending with the viewer left to the job of tying up the loose ends by themselves.

An unusual but far from uninteresting and uninvolving feature.