Shadow and light dart about each other constantly in The Devil's In Love, playing a game of hide-and-seek that helps to add a layer of ambiguity to this otherwise straightforward exotic romance. Devil has the kind of screenplay that practically revels in coincidences, but it's also the kind of film that implies that such coincidences are the result of Fate, kismet or the Hand of God. It's implausible, but done with a sincerity that's hard to resist. Besides, director William Dieterle and cinematographer Hal Mohr keep coming up with black-and-white images that enthrall the viewer and help him to forget any shortcomings in the script. Indeed, Dieterle at times seems to be filming a story that is separate from that of Devil, some secret backstory that only he knows but that gives the picture a richer feel. In the lading male role, Victor Jory is properly masculine but not as layered as one might desire; there's nothing wrong with his work, but he doesn't fill in the "blank spaces" in his character. This is no problem for co-star Loretta Young, who finds ways of fleshing out her part to make it fuller and rounder. Watch out also for Bela Lugosi's scene stealing role as a prosecutor.