Good films always raise compelling questions, whether the format is fiction or documentary fact.

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

The film may be flawed, but its message is not.

A clunky actioner with a handful of cool moments.

That's the best British film I have ever seen, at least concerning those from the forties, which is a period that I am not particularly fond of. Margaret Lockwood is here absolutely outstanding, terrific as an evil woman who has nothing to envy from Gene Tierney's similar performance in LEAVE HER TO HEAVEN. A most possessive woman for sure. I saw it thirty years ago and I have it in my collection. That's a pure jewel, folks. British cinema industry is quite different from the US one. And many movies from this country remain to be discovered, even today. A real must see.

MARGARET LOCKWOOD became one of Great Britain's favorite actresses of the '40s with the sort of vivacious and headstrong roles she played in a number of British films, such as THE WICKED LADY. JAMES MASON also became an international star shortly after his work in this lusty Restoration tale about a woman, bored with her life as a housewife, who turns to highway robbery as a more exciting occupation.MICHAEL RENNIE is the man she really loves, even though he never suspects she is the highway woman until she reveals herself at the very end. Since she was a woman who had lied and stolen another woman's husband along with being a thief and murderer, she had to pay for her criminal past according to the British film code. Thus, the unhappy ending for Lockwood and Rennie. But GRIFFITH JONES and PATRICIA ROC find true love at the fadeout. It's a melodramatic romp, handsomely produced with lavish detail to period costumes and some especially low-cut gowns for the women. There are stories that for the American version, alterations in costuming had to be made to overcome too much exposure of Lockwood's bosom, but you'd never know it from the print shown on TCM. The revealing décolletage is especially noticeable on PATRICIA ROC as well as Lockwood. Both leading ladies play their roles with lots of heaving bosom revealed in low-cut costuming.The story is a lot of nonsense about the aristocratic Lockwood pursuing a life of adventure by becoming a highwaywoman, but it's highly enjoyable as entertainment of this kind. MARGARET LOCKWOOD looks very much like a British version of Hedy Lamarr, except that Lamarr had more perfectly shaped full lips.While JAMES MASON is good as the highwayman who falls in love with Lockwood, he was seen to much better advantage in other British films from this period and shortly afterwards migrated to Hollywood where his career was even more successful.

Not popular with the critics,and I agree the critical chorus had a certain amount of truth behind it. True, the plot is full-blown melodrama and the characters are pasteboard figures. But what does it matter? Is not extravagant plotting with all its coincidences, unlikely twists and larger than life surprises the stuff that escapist entertainment is made of? Are not players of the calibre of Mason, Lockwood, Rennie, Jones, Aylmer, Roc and Stamp Taylor sufficiently personable and charismatic to breathe life into one-dimensionally written figures? Certainly, I think so (even if Mason himself did not, although undoubtedly one of the causes of his dissatisfaction was the role's brevity).Leslie Arliss has written and directed with verve, pace and style, his script helped by a great deal of witty additional dialogue and catty repartee, his direction aided by Jack Cox's typically moody, gray-toned photography, John Bryan's magnificent sets, Elizabeth Haffenden's eye-catching Restoration costumes. (Perhaps some of the film's enormous success at the box office can be traced to its low-cut, period gowns. It would be hard to deny that Misses Lockwood and Roc fill their costumes most attractively).The Wicked Lady has an undeniable sweep and a vigorous dash that carries the audience right along. It may be too excitingly plotted for some, but it always looks so terribly authentic, it is hard not to be drawn into the machinations of villainess Lockwood or sympathize with the careless, carefree vigor of James Mason's full-blooded Captain Jackson. A welcome cast of deservedly popular support artists help round out the movie's terrific production values. Aside from some obvious process screen effects, no expense has been spared. In fact, this Wicked Lady is lavish to a fault.

I was looking forward to viewing this old British costume drama,after hearing a lot about it. I was a little disappointed.James Mason was my reason for seeking out this film,but he does not appear that much.His dashing highwayman is fun to watch,but he has too little screen time to make him memorable.Griffith Jones is a bore along with the other male actors except for Felix Aylmer.His turn as the bible-quoting servant is the best thing about this movie.Margaret Lockwood's wicked lady is way over the top.The whole movie is filled to the brim with melodrama and racy dialog.Some of the dialog must have been quite shocking 60 years ago.Today it is amusing,and makes a rainy afternoon pass enjoyably.