Hitchcock's psychoanalytic murder mystery makes use of the subject, indifferently, just for a fresh new gimmick (a Freudian sleuth played by Ingrid Bergman in eyeglasses) instead of for its real possibilities. Where those possibilities start is in Gregory Peck's private stifled panics about any kind of striation on a white background (the impression of fork tines on a tablecloth, the tracks of children's sleds on newfallen snow), and where those possibilities vanish completely is in the silly dream sequence devised, self-servingly, by Salvador Dali. (1945) — Duncan Shepherd
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