The Two Mrs. Carrolls, directed by Peter Godfrey and adapted from a Martin Vale play by Thomas Job, features Humphrey Bogart, Barbara Stanwyck, Alexis Smith, Nigel Bruce, Ann Carter, and Patrick O’Moore in its cast. Franz Waxman composed the music, and Peverell Marley was responsible for the cinematography. Completed in 1945 but not released until 1947, The Two Mrs. Carrolls is a film surrounded by numerous stories and conflicting opinions. Accounts from different biographers and film writers offer varying perspectives on what Bogart and Stanwyck thought of the project, their reasons for participating, and other details—making it difficult to know exactly what happened now! So, how does the movie stand on its own? Critics at the time were correct in noting similarities between The Two Mrs. Carrolls and well-regarded films like Gaslight, Suspicion, and Rebecca; the delayed release is believed to be due to Gaslight's success in 1944, and there’s even a hint of Dorian Gray present as well. These popular films have somewhat damaged “Carrolls” reputation because it doesn’t quite measure up to their quality. However, when considered independently, this is genuinely good Gothic thriller entertainment. The story centers on Sally Morton Carroll (Stanwyck), a newly married woman who discovers her husband, Geoffrey (Bogart), isn't the charming and loving man she believed him to be. He’s an artist who requires a twisted muse to create his best work, so the conventions of the thriller genre unfold as Sally uncovers dark truths and becomes a woman in danger. Several memorable characters are introduced: Smith’s alluring and captivating presence, Bruce's alcoholic doctor, Moore’s heartbroken former boyfriend, and Carter’s lively young daughter. The Carroll house is full of Gothic details, creating an atmosphere ripe for sinister deeds and the revelation of hidden secrets. Godfrey allows the pace to falter at times, but he does create some very effective mood-setting scenes. Sequences featuring imposing portraits are chilling, a violent storm with billowing curtains evokes a haunting feeling, and Geoffrey’s descent into madness results in a powerful and dramatic moment. Marley's photography uses lighting techniques to establish a suitably dark tone, while Waxman provides a score that adheres to genre expectations. The acting isn’t particularly remarkable; Stanwyck delivers a competent performance but isn’t pushed beyond her comfort zone, and although Bogart is committed, he seems like an unusual choice for the role. Bruce is cast in another Dr. Watson-like part, and Smith's talent is sadly wasted. It’s unfortunate because she makes a lasting impression with her slinky movements—it’s probably no accident that she appears later in the film wearing a leopard skin scarf! Overall, it feels slow at times and occasionally reveals its origins as a stage play, but when it fully embraces Gothic elements, it's worth watching. And yes, even if Bogart portraying Bluebeard isn't quite right for the part. 7/10

Source on TMDB