Ray Milland,Joan Collins和Farley Granger三人之间的三角关系引发了一场20世纪初的情杀案....

A brother and sister move into an old seaside house that has been abandoned for many years on the Cornwellian coast. They soon discover that it is haunted by the ghost of the mother of their neighbor's granddaughter, with whom the brother has fallen in love.

A telephone rings in the dark—three times, pauses, then rings three times again. A fully-clothed figure lights a cigarette before rising from bed, dons a raincoat, then sets out into the night. Another figure emerges from the shadows, lights a cigarette, then discards a crumpled cigarette pack, which the first picks up and carries home. Back in his room, the first man places the refuse on his desk, paces apprehensively about his apartment before he finally removes the inner foil and examines it. After letting what it reveals sink in, he sets it on fire, and a cold look comes over his face...
Thus begins The Thief, a 1952 cold war, espionage thriller—unique in that it is completely without dialogue—directed by Russell Rouse, and produced by Clarence Greene, who co-wrote the screenplay. Allan Fields (Ray Milland) is an award-winning nuclear scientist working at the Atomic Energy Commission research laboratory. He is also a spy, photographing top secret documents, then relaying the miniature film canisters back through an elaborate network to enemy agents in Egypt. His signal is the telephone, and his liaison outlines his assignments through instructions on his cigarette refuse, with nary a word spoken. It is a dangerous business, and one that creates many close calls—too close for comfort. When one of his assignments goes awry, the FBI begins to close in, and the race is on to leave the country before he is caught.
The Thief has all the trappings of classic noir. Produced at the height of the "Red Scare," the film manages to maintain a constant state of tension, relying heavily on reaction shots and Herschel Burke Gilbert's riveting musical score. The cinematography heightens the effect, utilizing lighting and camera angles to convey the unspoken. Milland, who won an Oscar® for his role in Billy Wilder's The Lost Weekend, carries the part off to perfection, letting the audience read his character's thoughts solely through facial expression and body language. The direction also fools the audience into anticipating dialogue, then cleverly avoiding it. Only the Oscar®-nominated score and sound effects break the silence.
This is a fascinating use of visuals to tell a story, and a gripping suspense film, which held my interest throughout, and aside from one sequence where Fields' conscience begins to plague him, the narrative is fairly straight forward, without much in the way of gimmickry. Avoid the back cover text because it gives away the ending, which was the only part that didn't really work for this reviewer. For those interested in cold war-era film noir, this is certainly worth a look, if for no other reason than its uniqueness.

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A naive young officer straight from school arrives on the Western front to fight the air war against the Germans. However, the life expectancy of green pilots is not very good.

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Stephen Neale is released into WWII England after two years in an asylum, but it doesn't seem so sane outside either. On his way back to London to rejoin civilization, he stumbles across a murderous spy ring and doesn't quite know to whom to turn.

A best-selling author of women's issues and a medical academic find it is to their mutual advantage to falsely claim that they are married.

Harvard Law student Oliver Barrett IV and music student Jennifer Cavilleri share a chemistry they cannot deny - and a love they cannot ignore. Despite their opposite backgrounds, the young couple put their hearts on the line for each other. When they marry, Oliver's wealthy father threatens to disown him. Jenny tries to reconcile the Barrett men, but to no avail.

1945 film by Billy Wilder

An ex-tennis pro carries out a plot to have his wealthy wife murdered after discovering she is having an affair, and assumes she will soon leave him for the other man anyway.