Plot
Sir Brian Brooke, a famous attorney, collapses while acting as defense counsel in a high-profile murder trial. Doctor Thorvald informs his (second) wife Cathy that Brian needs to rest for six months or he will die; Brian is also temporarily blind. They and Brian's daughter Monica relax in Italy.
They receive an anonymous letter accusing Cathy of carrying on an affair with Brian's junior partner, Michael Barcleigh. Brian's lawyer instincts makes him believe it, until Cathy reveals that Michael has confided to her that he is in love with Monica. Brian is apologetic, and delighted by the news. However, Cathy has lied, and the letter is correct.
Reception
The Monthly Film Bulletin wrote: "This is certainly engrossing entertainment, and although the action is slow at first it gathers momentum as the film progresses to a dramatic climax. The production and direction are good, and so is the photography. Roger Livesey is superb as a K.C., and most convincing as the irascible invalid. Myrna Loy is quite at home as the patient and devoted wife and stepmother, while Peggy Cummins and Richard Green portray the younger generation with perfect ease; Peggy Cummins, especially, is to be commended on her appeal in the dramatic scenes. All the remaining members of the cast give most worthy support." [5]
Kine Weekly wrote: "The picture is very stage play and the sophisticated atmosphere and backgrounds accentuate rather than cloak its stock characters and situations. Myrna Loy is always easy on the eyes, but, delightful as she is, it is beyond her power to put much genuine emotional feeling into the 'storm in a teacup.'" [6]
Variety wrote: "A big cast and opulent staging are the two major assets of this new British production and will play a prominent part in determining the appeal of this film. Plot is handicapped by uncertain treatment and the emotional theme is not developed until the final stages. ... In a hesitant opening, the story creates an air of indecision, and although the central situation is readily established it is done without feeling and warmth. It isn't until the climax, which is staged with due dramatic emphasis, that the theme gets warmed up to tear-jerking finish." [7]
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