Below the quality of the later work I've seen of Wyler in this decade, charged with an melodrama that ranges on absurd, with just enough of that noir feel, quality acting, and superb visual technique to make it worthwhile. The script doesn't exactly feel up to the task, at times.

A noir-ish melodrama. Bette Davis is very good in it, she pulls off cold-blooded quite well. The movie is generally engaging (despite not having a whole lot of "plot" to it) and Wyler's direction is elegant without being too showy. Still, it seems like there isn't quite enough meat on these bones. I suppose there is something to be mined from the class and/or racial themes, but I haven't come up with anything too deep yet. There's a palpable melancholy to it, though.

Davis is fine here. Very good adaptation of Maugham, but the Hollywood ending is unfortunate. Evil must be punished, you know!

I would've given this movie a lower score but the ending and Bette Davis's powerhouse acting did it for me. One of my favorite film-noirs.

It's odd to think of this as a noir since, despite all the elements being there, the main players are members of high society. Genre confusion aside, it's an enjoyable if somewhat underdeveloped melodrama that rests primarily on Bette Davis' shoulders. She carries the changes in tone pretty well, very much in character.

"Even a bad Davis movie where she's hamming and mugging and even humiliating herself is more fun than practically no Bette at all." - Jeremiah Kipp

Bette Davis rocks

A decent flick. Not much to say about it. Bette Davis does a good job.

For a Billy Wyler movie, I found myself drifting much too often, and Davis was not at her best here; her performance seemed to cross into camp too often. Just not memorable, considering the involved talent.

Melodrama to the extreme. Decide for yourself if that's a good or bad thing. I feel its more than a little mediocre.

Fun movie with a great ending. Bette Davis might not be the most attractive woman but she sure can act! Another user found her style campy but I would argue that she nails the noirish femme fatale, ever the opportunist, scheming as best she can, trying to get away with murder.