It's no coincidencethat mirrors and Freudian psychology were both in vogue in Hollywood'snoir melodramas of the late forties. Here we have a familiar film noiropening: a man lies dead in his luxury apartment and a beautiful womanseen leaving the building is positively identified as the murderer. Butthis beautiful woman has an identical twin; the police, at a loss todetermine which sister is the murderous one, call on the services of apsychiatrist (Lew Ayres). Olivia de Havilland, aided by brilliant trickphotography, is excellent as both twins-one charming and trusting, theother aggressive and paranoiac. The Doppleganger motif is intriguinglyworked into this film noir thriller of identification andmisidentification; and the script, spiced with red herrings andsuspenseful ambiguities, contrasts nicely with Siodmak's sharp,uncluttered visual style. The clincher, cleverly effected throughmirrors set up to reveal the murderer, also reveals Siodmak's interestin the darker reaches of the mind.