There's Always Tomorrow (1955, released 1956 Douglas Sirk)

Re-teaming of Barbara Stanwyck and Fred MacMurray - they couldn't be a more different couple to that in Double Indemnity - they're lovely, but Fred's family is selfish, grasping and uninterested in him - shots of house through windows and horizontal bars throughout (staircase, in the houses, even candles in one memorable dinner scene) portray prisons, beautifully shot by Russell Metty, who anticipates Conrad Hall by showing a rain pattern on Barbara's face emulating crying. Also I rather like the moment where Fred's talking about his marriage and as he steps out of shot we see a bride and groom toy behind him - such is the subtlety of Sirk - you have to pay attention.

Elegant camera moves rather than cutting. Why are Sirk titles so difficult to remember?

Story by Ursula Parrott, adapted by Bernard Schoenfeld. With Joan Bennett, William Reynolds, Pat Crowley, Gigi Perreau and Jane Darwell as the housekeeper.

The film rates only this from the director, quoted in Jon Halliday's fabulous book:

I can't remember it, but I don't have an entirely bad feeling about it... Both MacMurray and Stanwyck were excellent. But I think there was probably a flaw in the casting of the other woman, and in the writing. And the other thing was that the picture needed colour, which was planned.