A strong marriage often thrives on secrets between partners. Otto Preminger directed this interesting and polarizing film noir thriller, with a screenplay by Ben Hecht (writing under the pseudonym Lester Barstow due to the blacklist) and Andrew Solt. It’s based on Guy Endore's novel "Methinks the Lady," and features Gene Tierney, Richard Conte, José Ferrer, and Charles Bickford in the cast. Arthur C. Miller handled the cinematography, while David Raksin composed the music under the supervision of Alfred Newman. The story follows Ann Sutton (Tierney), the wife of a successful psychiatrist (Conte), who is arrested for shoplifting because she struggles with kleptomania. Just when it seems her reputation will be ruined, she’s rescued by a charming hypnotist named David Korvo (Ferrer). However, Korvo isn't what he appears to be, and Ann soon becomes entangled in blackmail and murder, threatening the stability of her marriage. Torn emotionally and unsure if she committed any crime, Ann feels lost unless her husband or the police can unravel the complicated situation. Combining psychological thriller elements with obvious melodrama, *Whirlpool* hasn't managed to win over many film noir enthusiasts. Some reviewers consider the plot’s premise ridiculous, while others suggest that Preminger and Hecht essentially recreated Alfred Hitchcock’s *Spellbound*, which also featured Hecht on screenwriting duties, from four years prior. Regardless, borrowing elements from a Hitchcock movie isn't necessarily a bad thing; Preminger’s film is an engaging piece of cinema. The central concept of hypnosis used as a tool gives the film a dark atmosphere, and Preminger effectively portrays a world populated by sympathetic but flawed individuals. Ferrer’s character, Korvo, provides a particularly memorable villain—a slick and oily figure reminiscent of Fritz Lang's Mabuse or Freudian psychology, offering considerable entertainment value. Tierney doesn't have to exert herself greatly; she’s asked to convey confusion and a near-constant state of hypnosis, which she handles adequately while maintaining an innocent allure. Conte’s stiff performance as the husband surprisingly works well for the story, and Charles Bickford deserves recognition too, as Lt. Colton—a thoughtful police officer who maintains seriousness even when the plot risks becoming absurd and undermining the drama. Although it wasn't embraced by major American critics, the film gained support from French filmmakers Rivette and Godard. Like me, they appreciated the unusual and unsettling nature of this movie. 7/10

Source on TMDB