Novelist Joseph Shearing specialized in using real cases which took place in Victorian England, altering them for fictional purposes. MOSS ROSE in 1947 was the first film to be made from his novels, then in 1948 two of his works were adapted for the screen, this film and THE MARK OF CAIN. The movie stars Todd as a recently widowed missionary returning to her home in England from Jamaica. During the voyage, she meets Milland, a charming though dangerous rascal who is wanted by police in connection with some unsavory dealings. Milland contracts malaria while onboard the ship and Todd nurses him back to health. In London, Todd settles into her home, taking in boarders to make ends meet. Milland arrives, moves in, and proclaims his love for her. Todd is thrilled, but it seems rather obvious that Milland is only toying with her. Milland finds some letters written to her by her friend, Fitzgerald, in which Fitzgerald reveals some of her sexual indiscretions. Since Fitzgerald is now married to the wealthy Huntley, Milland believes he can use the letters to blackmail Fitzgerald. Todd's love for Milland is so great that she goes along with the plan. Huntley, however, learns of the scheme and also uncovers details of Milland's shady past. Fearing for her lover's safety, Todd poisons Huntley, then remains silent when Fitzgerald is arrested for the murder. Milland has by now genuinely fallen in love with Todd and the two make plans to leave England. Before they can depart, one of Milland's former lovers shows up and Todd, in a jealous rage, kills Milland, then turns herself into the police.
　　This is an intriguing film, although a little on the talky side. The performances are excellent throughout, with Milland shining as the cad, the type of role in which he excelled. Though he spent most of his time making films in the US, he occasionally returned to his native England for a production and this was his first British film since FRENCH WITHOUT TEARS in 1939. Director Allen was also an Englishman who chose to work in the US, this being his first directorial effort in his homeland. This was the fourth and last time Milland and Allen would work together, their pairing having begun in 1944 with the wonderfully eerie THE UNINVITED.

1 ) 穷画家宁愿杀人放火也不出卖自己的艺术良知，你信吗？

把邪恶的爱译成《痴心女子负心郎》（1948），我也是醉了

影片根据“查尔斯·布拉沃神秘死亡事件”改编：1876年，著名律师查尔斯·布拉沃死于锑中毒，成为一桩历史悬案。

编导对律师的神秘死亡做了全新的演绎，成为一部令人心碎的黑色经典：

画家为他在船上认识的寡妇画了一幅画：

画中人的眼神有寂寞，也有一分对生活的信心和倔强——

觉得自己在牙买加空耗青春的寡妇非常激动，内心深处对生活的热爱再次苏醒：

同伙劝画家仿制伦勃朗、鲁本斯的名画：

不！

画家断然拒绝：

同伙莫名其妙：

因为你不懂……

穷画家宁愿坑蒙拐骗、杀人放火、亡命天涯也绝不出卖自己的艺术良知，你信吗？

画家与同伙抢劫名画：

计划失败……

画家打算离开伦敦，寡妇已深深地爱上了他：

求助酗酒的有钱闺蜜，但闺蜜只是律师老公有钱：

20英镑于事无补，但两人之前的通信足以敲诈闺蜜老公一笔巨款……

画家需要寡妇的配合，与其交换定情信物：

各种阴谋、背叛、杀戮……机关算尽，算不到定情信物戴在另一个女人的脖子上：

去犯罪，去亡命天涯，支撑她的无非就是刻骨铭心的爱恋，如果这份爱是空中楼阁，悲剧就已不可避免。

更大的悲剧，也更讽刺的是，画家不再是利用和欺骗，而是发自内心地爱上了她：

发自肺腑的蜜语甜言和她决绝的眼神：

阴差阳错的情天恨海，每个人都要为自己的过去买单。

来不及解释了，来不及了，

情人看剑：