This is a pretty standard Warner's Who Done It, one that gives up the goods about 2/3rds of the way through. What puts this Stanwyck vehicle a notch or two above average is the fluid camera work employed--- Dieterle isn't afraid to employ some unusual overhead camera angles (or was Busby Berkeley hanging around the set?) and tracking shots. It's also obvious that Warner's wasn't afraid to spend more on their productions in 1934 than just a year or two before. The production values show where it counts, right down to the Orry-Kelly gowns on Ms. Stanwyck--- one in particular looked like it wiped out half the fox population in Depression-era California. Some of the motivations in the plot are fuzzy: Glenda Farrell's relationship with her boyfriend (is it just me or does Douglass Dunmbrille look like Lionel Atwill were separated at birth?) is about as unclear as her reaction to his... errh, that'd give away too much. I give this a 10 for production values and a 4 for plot.