Cool 1950s Film Noir Thriller!

My parents took me to see this movie at the theater when it was first released, when I was a boy, and I didn't remember much of it, except that Doris Day was frightened and running from Louis Jourdan, and I liked the location shooting in Carmel.
I just saw it again on TCM for the first time since 1956, and for me, it was a gripping, suspenseful, edge-of-your-seat Film Noir thriller. The black & white cinematography is crisp and there is lots of 1956 period detail to make me nostalgic for the 1950s - the cars, the clothes, the architecture, the furniture, etc.
Of course, it's very dated now, but so is a Humphrey Bogart movie - a product of its time, which contributes to its look and feel. The way it was filmed, Barry Sullivan's character reminded me of Bogie in THE BIG SLEEP (1946).
Doris Day is absolutely fabulous in this intense drama as a hysterical wife afraid of being murdered by her psychotic husband, played to the hilt by smooth, handsome Louis Jourdan. Lots of familiar character actors populate the movie along with the scenery to give it a lived-in look. And the unexpected climactic ending sequence on the airliner was really well done, and reminded me of the days of propeller airliners before the Boeing 707 jetliner was introduced to the public in 1957.

I highly recommend this for a prime example of 1950s Film Noir cinema, although I have read some negative reviews about it, it seems like they saw a different movie than I did. Good music score by Leith Stevens also.

The edgy main title theme was covered by David Rose and his orchestra on the album "Music From Motion Pictures" recorded on M-G-M Records, released in mono sound in 1957.

Dejael