Everyone involved seems dedicated to getting me back on track. My Name Is Julia Ross comes from director Joseph H. Lewis, with a screenplay by Muriel Roy Bolton based on Anthony Gilbert’s The Woman in Red. It features Nina Foch, Dame Mary Witty, George Macready, Roland Varno, Anita Sharp-Bolster and Doris Lloyd. Mischa Bakaleinikoff composed the music, and Burnett Guffey was responsible for the cinematography. Julia Ross (Foch), unemployed and behind on her rent to her landlord, quickly accepts a secretarial position within Mrs. Hughes’s (Witty) household. Beginning work at the Hughes residence in London one evening, she awakens two days later in a cliff-top mansion in Cornwall. She's informed that she was away due to mental health concerns, and is now Marion Hughes, married to Ralph Hughes (Macready). This film holds considerable significance for the career of Joseph H. Lewis; it essentially launched his recognition, subsequently rewarding noir enthusiasts with films like Gun Crazy and The Big Combo. With a concise running time of 65 minutes and a limited budget, it demonstrates what can be accomplished when a director and cinematographer collaborate effectively under constraints—a quintessential example of classic noir production. The plot itself is rather conventional and familiar, but the film's atmosphere and visual style prevent it from feeling derivative. It aligns with the Gothic noir genre, drawing inspiration from Rebecca, Gaslight, and Suspicion. It also incorporates elements of a traditional "old dark house" story, complete with eerie staircases, wood-paneled rooms, hidden passages, and even a black cat. The seaside cliff location, where mist frequently rolls in at night, adds to the overall mood. The characters are well-developed and eccentric—it’s clear that Julia Ross is presented as the only person acting normally within the Hughes household! George Macready's portrayal of Ralph Hughes stands out; he is the driving force behind everything happening, handling his knives with a peculiar fascination, making him a truly memorable noir villain. Ultimately, it’s Lewis and Guffey’s contributions that elevate the film beyond what’s written in the script. Expressionistic techniques are present, but it's the unusual camera angles and close-up point-of-view shots that immerse the viewer in Julia’s disoriented reality. There are many striking scenes, whether it’s a rain-soaked street or Julia looking through her bedroom bars; there is an abundance of visual appeal here. The conclusion feels rushed, and as often happens with this kind of story, some things have to be overlooked. However, that's easily done because the atmosphere is so pervasive, and every shot seems carefully considered—making it a worthwhile recommendation for fans of Gothic noir. 8/10

Source on TMDB