Alec Guinness appears as a man who finds himself face to face with an identical double in a pub. They could be brothers. One character, “Barratt,” works as a French instructor at a British university; his counterpart is a local aristocrat struggling financially. The two men have drinks together and then spend the night in the aristocrat’s hotel room. When "Barratt" awakens, his roommate has vanished. Shortly after, a driver arrives, mistakenly believing him to be the nobleman, and brings him to the family estate where he meets his relatives. He understands that something is being done to mislead him, but doesn't know who is responsible. It becomes apparent quickly that this family dynamic is deeply troubled—headed by a morphine-dependent “Countess” (Bette Davis in a performance reminiscent of Elizabeth I), with his wife, mistress and daughter contributing to the chaos within the household. Guinness delivers a solid performance, though the central idea didn’t entirely work for me. He seems too willing to embrace this false existence and its inhabitants; there are no objections or inquiries from authorities, and his spoken account doesn't quite align with what he does. The conclusion, while I appreciated it, felt hurried and contrived. The cinematography featuring both men in the same shot is exceptionally well done, and Bronislau Kaper’s musical score complements the story nicely, but overall it feels somewhat uninspired.

Source on TMDB