In 1947, the period of this film was nearly 50 years ago, and modern people became quite fascinated by it, copying its fashions and decor. In fact, the fashions and interiors are the best thing about this film. A lot must still have been around, as people changed their houses less (or couldn't afford to), and people in the 30s and 40s often lived surrounded by - what I almost called Victorian tat. We get a good look at Sylvia Sydney's flat - full of furniture and china and knicknacks. When she marries the charming Manuel Cortez they move to a perfect cottage in the country - more knicknacks and a convincing kitchen with oil lamps and a Welsh dresser.
Sylvia's clothes when she first comes into money are deliberately tasteless - the huge hat with feathers and the sequined evening dress.
Anyway, back to the plot... Yes, we know about Cortez' evil intentions far too soon, and Sylvia's discoveries are very slow and clunky. Cortez leaves evidence strewn around and jokes about being a Bluebeard. And he keeps disappearing down to the cellar! The dialogue (not Christie's) is pedestrian and expository, and it all becomes very melodramatic ("We're going on a long sea voyage, my dear - cackle!"). But the moment when she discovers her brooch in a box of unfamiliar jewellery is quite chilling, as is their tense "last supper". There's an attempt at Christie's resolution of the plot, but then the cavalry come thundering into view.
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