So, the flashback lies. Who cares? The teller is the murderer. Isn't Rashomon all about lying flashbacks? In fact, there's a shot in this sequence of an interior with Marlene in the foreground and a clearly back-projected background of Richard Todd - which I thought might have been because a scene wasn't covered (unlikely) but is more likely a deliberate touch to show the artificiality of the lie. (There's another really subtle touch right near the end when Jane Wyman steps out of the theatre carriage prop in slight slow motion.)
Film has lots to recommend it including a great chase scene with Todd escaping from the police, Wyman in his arms realising (by combination of piano and piano theme) she's in love with Michael Wilding, enthusiasm of rogue uncle Alistair Sim, overheard chat in pubs, Wyman's common English accent (and the great moments of tension arising out of her double role), garden party, Marlene gorgeously lit (by herself) by Wilkie Cooper, Miles 'Mallison' as an extremely annoying drinker. London-set, though as most of the non-second unit stuff is back projected it could have been filmed anywhere.
With Kay Walsh, Joyce Grenfell, Sybill Thorndike.
Novel Selwyn Jepson, screenplay Whitfield Cook, adaptation Alma Reville.
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