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The Late Edwina Black is directed by Maurice Elvey and adapted to screenplay by Charles Frank and David Evans from the play of the same name by William Dinner and William Morum. It stars David Farrar, Geraldine Fitzgerald, Roland Culver and Jean Cadell. Music is by Allan Gray and cinematography by Stephen Dade.

It's Victorian England and Edwina Black has just died. When a fatal dosage of arsenic is revealed to be the cause of death, suspicion falls on Edwina's husband Gregory (Farrar) and her house companion Elizabeth (Fitzgerald). More so when it becomes apparent that Gregory and Elizabeth are having a passionate love affair. Intrepid Inspector Martin (Culver) investigates as housekeeper Ellen (Cadell) looks on with interest from the shadows.

Under seen Brit period mystery resplendent with moody melodramatics and some spooky shenanigans. This is all about a mystery to be solved in a big Victorian house bathed in shadows and low lights. There is only three suspects, so for those paying attention from the off the mystery is a little weak, while there's some over acting indicative of the time.

However, Elvey and Dade prove very adept at creating a house of ominous atmosphere, where although the hinted at supernatural elements are not in the realm of horror, they work well in context of the back drop. Characterisations are nicely drawn, especially when the harmony of Gregory and Elizabeth's affair begins to crack.

It all builds to a quintessentially olde British finale, as the great Roland Culver gets to do his Hercule Poirot act, all neatly revealed over a cup of tea! Hooray! 7/10

Geraldine Fitzgerald gives another of her usual fine, understated performances as Elizabeth Grahame, a maid, who may or may not be a murderess. This is, however, a very unusual thriller which starts with the death of Edwina Black. Everyone is suitably shocked but when an autopsy is requested it proves that she was poisoned. It seems that Mrs. Black was a hard and bullying mistress and the villagers think life will be much easier at the house now she is dead. Mr. Black (David Farrar) and Elizabeth have fallen in love but there are some red herrings that pop up - a travel book to Italy that Elizabeth had ordered a month before Edwina's death is innocently explained. She is convinced a black cloud hangs over the house and as time goes on begins to be eaten up with suspicion and jealousy and is slowly consumed by Edwina's personality.

Jean Cadell is excellent as the aloof housekeeper. You never realise, until the end of the film, "who done it" - as everyone seems to be acting so innocent!! Geraldine Fitzgerald was quite a rebel - she was often suspended because of films she refused to do. She returned to England for a time in the late 40s. She starred as an alcoholic murderess in "So Evil, So Young" and "The Late Edwina Black" before she returned to the States.

The Obsessed is a nice example of English noir and of the murder mysteries they do so well and with such style. It's a wonderful case study on how suspicious minds can mess with your head.

Schoolmaster David Farrar's wife who's a rich sickly soul is given arsenic poisoning and that brings Scotland Yard in with Inspector Roland Culver. Farrar has been carrying on for some time with Geraldine Fitzgerald who is the wife's companion.

The bulk of the film is spent with Farrar and Fitzgerald each thinking the other did it and trying to keep their relationship intact. Housekeeper Jean Cadell, a nasty old soul is sure it was one of both.

A whole lot of emotions come into play with the scenes of the two leads often at the same time, hope, fear, anger, suspicion all fueled by the wife's poisoning.

As is usual the wise Scotland Yard inspector with some forensic help sorts it all out.

Great acting especially from the two leads.

The woman is dead but more alive than anyone else in the film, while they are all kept busy by her paranormal terror, using her life-long housemaid for an instrument. Jean Cadell is the housemaid and splendid as a formidable dinosaur. David Farrar is the husband and widower of the deceased and a victim of her terror for being just a poor school-teacher, while she was rich enough to own him. Geraldine Fitzgerald is the other victim as the secretary at the mercy of her whims of cruelty against her for being in love with her husband. So all have motives for disposing of the bed-ridden hag except Jean Cadell, who keeps her haunting and alive in the house after her death. Roland Culver is a very prudent police inspector who has to investigate a possible crime and who enjoys a cup of tea any time all around the clock. It's a great chamber play of tremendous passions with many outbursts of exploding tempers. Besides the tight and intensive dialog and the acute drama, it's a very beautiful film in a perfectly romantic environment in a great villa with a park and garden and a greenhouse and ideal music by Allan Gray. Everything combines to form a perfect domestic thriller of critical relationships driven to the brink of self-destruction, and nothing is missing to make it perfect. The only objection would be that it is too short - "the shortest full-length film I ever watched" as one reviewer aptly summed up his experience.

Edwina Black has died and an autopsy shows she was poisoned with arsenic. Meanwhile, her widower and his secretary (played by the wonderful Geraldine Fitzgerald), who have been waiting for her to die, are preparing to go off to the Continent. While the police inspector (played slowly and perfectly by Roland Culver) investigates, they turn on each other in private. Who poisoned Edwina Black? Who is lying?

Maurice Elvey, one of the great forgotten talents of the British film industry, directs this as an Old Dark House mystery, where the spirit of the late Edwina Black is evinced by the low light levels and the occasional tinkling of a crystal chandelier. His use of camera movement is almost undetectable unless you look for it -- it serves merely to maintain composition. Elvey was among the most subtle of directors in the British industry -- he did what he did in support of the movie, lacked any of the immodesty that the auteur-loving writers of the CAHIERS DE CINEMA adored and made an excellent movie in the process. Take a look at this one and see.