Obsession (also known as The Hidden Room) comes from director Edward Dmytryk and was adapted by Alec Coppel from his own book and play. It features Robert Newton, Phil Brown, Sally Gray, and Naunton Wayne, with a score by Nino Rota and cinematography by C.M. Pennington-Richards. After discovering his wife’s affair with a younger man, Dr. Clive Riordan (Newton) formulates a plan involving kidnapping and murder... The core reason behind the story in Obsession is very straightforward: it's a revenge tale centered on infidelity. However, Dmytryk presents it with remarkable skill, reminiscent of Hitchcock. The doctor is portrayed as an elegant and composed individual who has devised what he believes to be the perfect murder for his wife’s lover (Brown). He intends to enjoy psychologically tormenting his victim over time. With the man cleverly imprisoned in a damaged building, and subjected to regular visits from the doctor, we see Dr. Clive continuing with his everyday life. He shares brandy and conversation at his gentleman's club, deflects his wife’s (Gray) growing anxiety, and deals with the attention of Scotland Yard—specifically Superintendent Finsbury, played by Naunton Wayne. The "good" doctor even finds time to pursue his hobby of building model train sets. The initial setup unfolds slowly due to the director's then-recent blacklisting, but this is intentional because the entire feel of the movie shifts once the kidnapping happens and the police and press become involved. A tense atmosphere develops, even as captor and captive engage in proper and restrained verbal sparring. The film’s focus on murder resonates deeply, with references to Crippen and John George Haigh adding a disturbing undercurrent of real-life serial killer crimes. It could be argued that this is Dmytryk's finest British production. His ability to create suspense without resorting to melodrama or graphic violence demonstrates a mastery of the British thriller style. His direction of Newton and Wayne, both excellent in their roles, also deserves recognition. The film is presented entirely in black and white, with occasional scenes set on wet cobblestone streets illuminated by gaslights creating an otherworldly effect. While there’s some discussion about whether it qualifies as film noir, I believe its skillful execution makes it worth recommending to fans of the genre. Some of the minor performances feel a bit rigid, but they don't detract significantly from the overall experience. You do have to suspend disbelief regarding how easily the crime scene could have been discovered. But these small issues aside, this is a clever, cunning, and worthwhile British thriller. 8/10

Source on TMDB