Lina McLaidlaw is a bright, solitary young women who falls unexpectedly in love with Johnnie Aysgarth, a highly eligible bachelor with a penchant for losing money. They get married, but almost at once Lina is subjected to Johnnie's addiction to lying, gambling and getting into debt. Despite his flaws, she is unable to resist his charming manner, until she starts to suspect he may be harbouring murderous thoughts toward her ...<br /><br />This is a good movie, well-made, with an attractive cast, a good script and possibly the single lousiest ending in movie history. Okay, that's maybe going too far, but not by much. Lots of films change the ending of a book (Great Expectations, The Shining, etc) but the last two scenes of this one not only manage to be horribly lame, but also render the entire preceding plot completely meaningless. The story is about a woman whose husband is driven by his greed and moral lacking - and what she knows about him - to kill her. It should end (as it does in Francis Iles / Anthony Berkeley's book Before The Fact) with him attempting to murder her. The reason it doesn't is that the studio forced Hitch to reshoot the ending, one of the first examples of the godawful process of preview audience testing. Hitch was canny and did what he was told (this was only his third film in Hollywood) knowing that if he played the game, sooner or later he would gain creative control of his films, evinced by his masterpieces of the fifties. But that still leaves us with a turkey of an ending. This is a great shame because it really is a very good movie with an intriguing theme - does anyone really know their husband or wife that well ? The script is excellent, with many off-guard moments (such as when Lina's father dies and Johnnie assumes she's crying about it), a finely-judged performance by Grant (who never played a villain again) and fine photography throughout, culminating in the famous glass-of-milk shot. Fontaine won an Oscar for this performance, although personally I prefer her confusion and vulnerability in her earlier victimised wife role in Rebecca. I would like to rate this movie higher, but I really can't forgive that ending; this is what happens when movies are made for money, not love, which I guess is curiously the theme of the film itself. Look fast for Hitchcock's cameo as a man posting a letter.