This recap of Why Women Kill season 2, episode 1, “Secret Beyond the Door”, and Why Women Kill season 2, episode 2, “The Woman in the Window”, contains spoilers. She meets there three people whose existence she had not suspected: her husband's sister, who has been running things and wants to carry on (does anyone remember Judith Anderson's Mrs. Danvers in 'Rebecca'?); his secretary, who had hoped to marry him, and always wears a scarf round her face to hide scars from a fire; and his rather hostile son, who had no more been mentioned than the fact of a previous marriage… As a result the cast have to thanklessly play it up the best they can. I thought than Bennett did as good a job as she could have hoped to have done. She isn't brilliant though but she plays detective well. More important but not much cop is Redgrave; OK the blame lies more on the material than in his performance but given how little was conveyed by words at times, his performance was important but not up to the task.

Admittedly, the denouement is still a bit hard to take - just how nuts is Redgrave, does he really mean to kill B and if so why? Miss B is given the lion's share of the camera with flattering costumes and even an off-screen commentary (the sudden switch at the climax to an off-camera commentary by Redgrave is another element that doesn't work) but she is no Joan Fontaine. Another take on the BLUEBEARD/REBECCA type storyline from German auteur Fritz Lang, although I have to say that this is one of his worst movies. The story involves an idealistic young bride who marries a handsome man and moves into his ancestral home only to discover that he's hiding some very dark secrets. Who is the mysterious scarred woman in his home, and what secret is lurking behind door number seven?For that matter, the trappings of Mark's mysterious home are a catalogue of clichés about women feeling estranged in a new marriage to a Byronic husband. The story even makes use of a big fire for its conclusion, while every character reveals more secrets hidden from poor uninformed Celia. Vern follows Scooter on the streets and finds him entering a diner. There, he meets Dee, who gets suspicious of him. Bertram and Maisie gets drunk and sing along to each other. Upon arriving to Maisie's place, she invites him over but he rejects her offer. The next day, Alma goes shopping to buy a new dress for the party. She founds a dress she likes but is more expensive. Unable to afford the dress, she decides to recreate the dress with her own sewing materials. At the Castillo's, Rita and Carlo are having dinner but Carlo drinks instead rather than eating. He reveals that he suspects that Rita is cheating on him but she denies it. He insults her by reminding her that he once paid her. Rita gets mad and decides to cut off his drink but he threatens her about her lover. As they go to sleep, she calls Scooter and tells him that there has been a change of plans. Draped in Gothic overtones and astonishingly beautiful into the bargain, it's unmistakably a Lang film. His ire towards the cast and studio, where he was usurped in the cutting room and with choice of cinematographer, led Lang to be very dismissive towards the piece. However, it contains all that's good about the great director. Scenes such as the opening involving a paper boat on ripples of water, or a sequence that sees Mark dream he is in a courtroom full of faceless jurors, these are indelible images. Then there's the lighting techniques used around the moody Lamphere mansion that are simply stunning, with Cortez (The Night of the Hunter) photographing with atmospheric clarity.

The narrator introduces a woman named Alma Fillcot, a housewife with dreams of becoming a member of the exclusive Elysian Park Garden Club. Mommy Issues: Mark had a troubled relationship with his mother, and in fact with every other woman in his life. The supernatural suggestion goes even further when Celia flees the mansion into a fogbound grove of trees, only to see a menacing male figure approaching through the mist, like Death himself. It isn't too much of a leap to theorize that this scene (just three or four shots) inspired one of the nightmares in the cult horror classic Dementia/Daugher of Horror.Yet, this screenplay is quite well written. When Redgrave first speaks to Bennett he compares her to the weather in the Dakotas, the sunny stillness with the turbulence of a storm still to come, and the first breath of wind bending the wheat, etc. It sounds more perfumed than it is when Redgrave delivers these observations. Disregarding the Harlequin romance inherent in the situation, some effort (and talent) when into this dialog. Rich, Jamie S. (September 11, 2012). "Secret Beyond the Door". DVD Talk . Retrieved February 20, 2015. Meanwhile, Betram arrives at his veterinarian clinic. We see him put down a dog that was suffering from terminal illness. Following Dee's advice, Alma approaches the garden club and initiates friendly conversation with them. Rita recognizes her and invites her to a future gathering, leaving Alma hopeful about her chances.