Apart from a mildly "cop-out" ending (although the tragic ending of the stage original was not really any more logical, and the film does manage to make all its points anyway), this unusual Ealing film about the problems of a German war bride in postwar Britain is decidedly peculiar in that most of its characters lack the traditional Ealing qualities and don't really bear much relation to British types at all. The British after WW2 were quite tolerant and forgiving, and while dramatically and melodramatically exciting, the play-and the film-seem rather pointlessly thrashing at a problem which was minimal. But it's a handsome film, and were it just a little more downbeat, and a little more honest, it could qualify as front-rank British noir. Perhaps the main problem is that it was chosen as the English-language debut of Mai Zetterling, who had just created such a stir in Hets (Frenzy/Torment), and obviously Ealing wanted something that would shake the audiences up almost as much. William K. Everson