It is a remarkable production in many ways: the London house is narrow, dark, and cluttered, engendering a sense of claustrophobia. Boyer manages to loom over Bergman in presence, done partly through force of personality and partly through camera tricks, since movie lore insists he was shorter than the statuesque Bergman. Bergman actually visited a mental asylum in order to perpare for her role of a woman slowly going mad, and it shows in her performance which is carefully nuanced. The script is excellent, with great psychological power. Anton's subtle but abusive tactics toward his vulnerable wife are easily recognizable for what they are, today, but in 1944 must have been revelatory to a lot of people.
Fine supporting performances by a young Joseph Cotten as the detective, Dame May Whitty as the comic nosy neighbor, and a first role for Angela Lansbury as the cheeky housemaid. Bergman's wardrobe, which might be called "Hollywood Victorian" is almost a charcter in itself, with her walking dresses, satin evening gown, and black velvet lounging ensemble being particularly beautiful.
This movie won Bergman a Best Actress Oscar, and won a well-deserved Oscar for Art Direction, as well as Oscar nominations for Boyer and Lansbury, and for Best Picture, Cinematography, and Screenplay. These awards and nominations were well deserved. Very strongly recommended.