Forget Kane. Lady From Shanghai presents Welles at his most finely tuned baroque. The story is a perverse murder mystery/love and power triangle. Hayworth is used to great advantage as the irresistible temptress, Sloan is her creepy husband, and Welles is the picaresque adventurer who wanders into their lair. The hall of mirrors climax is justifiably regarded as one of the all-time great sequences of filmmaking.
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