I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

A lot of perfectly good film show their cards early, establish a unique premise and let the audience explore a topic at a leisurely pace, without much in terms of surprise. this film is not one of those films.

Easily the biggest piece of Right wing non sense propaganda I ever saw.

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

This is a rare beauty of a film. (PLEASE release it on DVD). The film is a character study, and a masterful thriller. I saw on TV way back in the 60's and it has haunted me since. The opening scene, on a train, a boy is killed. The star ( the beautiful Ingrid Thulin) looks off in a "thousand-year" stare. She does not react to the tragedy. The camera pans back, and you see the number tattooed on her arm.The film is shot, masterfully, in post-war Paris. People are just beginning to cope with life again, after the Nazi occupation. The Doctor returns to work, and her Husband (Maximilian Schell,in a career-defining role), hires her to impersonate his wife, whom he believes to be dead.The gorgeous Samantha Eggar, slinks around the house. Oozing with sexuality, you drool over her character.After some plot twists, including the fabled bath scene, you are drawn into the plot. The film continues with some nail-biting, and the conclusion is just fine.I will scour my TV listings, and pray it comes back on!

I have only seen this film once or twice, and it's been four decades ago. It is a sharp little murder story, with a clever scoundrel (Max Schell) who plans to make a real killing - a once in a lifetime shot at a fortune.Schell is a first rate amateur chess player. He happens to meet Ingrid Thulin, a Jewish medical technician who was married before the war to an older, wealthier man. During the war she was in a camp, but she was lucky enough to survive.She is vulnerable now, and she falls for Schell's polite, and then increasingly tender concerns for her. It isn't that she is stupid. She has resumed her career thanks to her closest friend's assistance (more of that later). But her home life is harsh - she only has her step daughter (Samantha Egger) who hates her as a woman who supplanted her mother. Egger is not that much younger than Thulin, and she thinks of Thulin as an adventuress who robbed her (Egger) of her inheritance. Actually Thulin is nice enough to share her house with Egger.Schell sees the set-up as a golden opportunity. He woos Thulin, and marries her, much to the suspicions of her close friend. In the meantime he keeps Egger under control, because she is capable of giving him information useful for his future plans. And when she is no longer useful, but increasingly a romantic problem - she is suddenly found dead in an "accident". This effects Thulin, who is always just on the borderline because of her war experiences. Schell shows concern...he openly worries about possible suicidal tendencies. And then he sets his final plans into operation. And at that point, I will leave the plot line for the reader to seek out and see the film.It turns out (I won't say how) Schell does not really count on the close friend affecting his plans. And that was the final reason I enjoyed the film. I have always been a fan of Herbert Lom. Ever since I saw him in THE LADYKILLERS, GAMBIT, A SHOT IN THE DARK (and the other "Pink Panther" films he popped up in), I have enjoyed his menace, his mania, and his remarkable acting skills. Except for GAMBIT (perhaps - in one scene he briefly shows menace), Lom usually played dangerous men to cross. In this film he finally played a decent guy. I can only say that it's a good thing that he's there at the end, literally, to help pick up the pieces.

This film has haunted me right from the start of its release in 1965, thanks to the top players, the tense plot, the effective direction by J. Lee Thompson and the music from John Dankworth. But most importantly (the play of) Samantha Eggar and the melodramatic role she plays in the film are the main reason of my lasting interest in this film. The famous bathroom scenes with her are unforgettable.

This will keep you confused till the end. Written in classic theatrical play/film style of Agatha Christie. Excellent performances by Maximillian Schell and Samantha Eggar illustrates why they can be called stars. Herbert Lom is far removed from the Inspector Clouseau comedies.