Along with the classic "The Spiral Staircase" and the underrated "Through the Looking Glass, this is one of the most successful teacher supplies Siodmak. Based on the novel by William Irish, one of the authors robbed of literature-detective-in movies and, of course, never as appealing as the self-titled, "The unknown lady" benefits, however, a pristine plot architecture, and a perfectly crimped almost imperceptible crescendo succeed as its nearly ninety minutes of footage, to crown one of the masterpieces of the forties.
of how to prove an alibi as he has just committed the murder of the wife of the accused, and the inability to achieve (it is true that here the actor who plays the accused, although innocent, lacks credibility on its own intrinsic , both their role as their own interpretation, being by far the worst of the film), and how his selfless secretary will land, sea and air to give the key witness, a mysterious and troubled woman and thereby stop the inevitable sentence hanging over your head. Siodmak precisely affects speech at the anonymity of the unknown female showing it in the first minute with his back to the camera, emphasizing the unreachable and misty air of the character.
Among winks to the myth of "Mad Love", the murderer and the hands that can not handle, and classicism rather than sober black, this film makes for good performances retina (Ella Raines above all) and, above all, flawless scenes of pure anxiety (especially under the short-term marking witnesses, as the sequence of the subway in New Jersey, captivating atmosphere, that of the jazz band , obsessive and never derivative) and in general, a domain of the script almost insuperable, and filling seamless, compressed and accurate. The power that it presupposes only the largest.
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