Webb's dialogue, as he postures as a sophisticate in love with the much younger woman, infuses the film with both wry humor and biting pathos. But for the 40's it was perfectly acceptable. With political correctness what it is today, the film's resolution would cause a minor outrage. If the film could be played with Webb's Lydecker as an impotent closet-case in denial about his true sexuality who values Laura for her companionship and intellectual insights, the film would be much more realistic, if not politically acceptable by 90's standards. 40's filmgoers apparently found it riveting.
Time is a monster.
The film is a taunt and interesting psychological drama. It is a perfect example of what we call Film Noir though it examines it's noir characters against a backdrop of wealth and high social standing. But most of the film's actual beauty can be credited to Oscar winning cinematographer Joseph LaShelle. The shadows and light fuse together to make wondrous images. This is highlighted by a scene where Andrews takes a beautiful woman into an interrogation room and turns the bright lights upon her.