Sally Morton (Barbara Stanwyck) and Geoffrey Carroll (Humphrey Bogart)- a struggling artist- get married following the passing of Geoffrey’s first wife. Despite quickly falling in love w/ him while on vacation in Scotland, Sally never thought she’d marry him when she discovered that he was already married (regardless of his vow to get a divorce). Then the first Mrs. Carroll’s (called an invalid) passing changed the situation. The time of the first Mrs. Carroll’s illness resulted in Geoffrey’s greatest works, incl. a portrait of her as “The Angel of Death.” While Sally brings a house in the England countryside and a rough-around-the-edges housekeeper (Christine), Geoffrey brings a pre-teen daughter (Bea) into the marriage. Their happiness begins to change when glamourous/flirtatious Cecily Latham (Alexis Smith- who also co-starred w/ Bogart in Conflict) commissions Geoffrey to paint her portrait. Cecily and her mother were introduced to the Carrolls by a London lawyer, Charles Pennington (Sally’s former fiancé). The affable Penny (his nickname) is still in love w/ Sally, which doesn’t amuse Geoffrey.
Bogart says “I think this is the beginning of a beautiful hatred”, which is a nod to the famous line from Casablanca (1942). The movie was completed in June 1945, but released in March 1947, when Bogart’s box-office appeal was at a high (though most critics thought he was miscast). The role of an artist, a profession that viewers, critics, and even the actor himself felt deviated from his typical tough guy persona, there were limits to what he’d agree to. When the director (Peter Godfrey) asked Bogart to wear an artist’s smock and beret, he refused- LOL! I liked the chemistry between Bogart and Stanwyck; they got along well during the filming. I wasn’t a fan of the pacing, the child actress (calm and precocious), or the music (a bit overdone).
 Stanwyck has never been better as a panic-stricken wife, trying to survive her husband’s evil doings. Bogart gives a highly underrated performance as a psychopath, who gets brutal when his murder plot doesn’t go according to plan. His presence on screen is often frightening.
 Humphrey Bogart, for all of the heroic roles during this stage of his career, is cast against type, and Barbara Stanwyck, always the femme fatale, is now a damsel in distress as matters spiral beyond her control as grave danger closes in on her. The role-reversals of the stars works well and the byplay between them is good.
 One problem is that there is an enormous amount of subtlety employed in its unravelling. In fact I would say there is a little too much subtlety, to the point where the details that are supposed to be underplayed to maximise the mystery and suspense do not seem to be underplayed at all, but rather they appear to have simply been ommitted.
The second little problem is with Bogart’s character. He’s the centre of this story, a mentally disturbed and jealous painter who, it would appear, murdered his first wife… But we’re not really given any insight into his character until very late in the film. At first he appears to be just like your stereotypical artist; insular, unpleasant, cynical. But we know, or at least assume, that he has actual psychotic tendencies underneath that eccentric, but nonetheless ordinary exterior.
-Excerpts from IMDB reviews