The theme of the film was possibly less offensive to mid-1950s audiences than it would be for modern-day sensibilities, due to the domineering and misogynistic persistence of the male star in bothering, pursuing, kidnapping, trapping and sexually-harrassing his floozy female co-star to marry him.A haunting, melancholy trumpet solo provides the musical backdrop for the title sequence.Set in 1937, the first scene opens in the upscale office of a Los Angeles private detective-hero, an overdressed character named J.Lehman: You may have heard me lecture...I usually alk about nervous disorders.I am a psychiatrist.Susan: Oh! Crazy people.Dr.Lehman: We dislike the use of that word.All people who behave strangely are not insane...Susan: What would you say about a man who follows a girl around?...Dr.Lehman (listening intently): Follows her around?...Susan: And then when she talks to him he fights with her?Dr.Lehman: Fights with you?...Is the young man your fiancee?Susan: Oh no, I don""t know him.I never even saw him before today.(Blithely) No, he just follows me around and fights with me.Dr.Lehman: Well, the love impulse in men very frequently reveals itself in terms of conflict.Susan: The love impulse!Dr.Lehman: Without my knowing anything about it, my rough guess would be that he has a fixation on you.As she walks away from the psychiatrist""s table, she mistakenly takes the purse that belongs to his wife (Tala Birell), hinking it is hers [her errors from the golf game and in the parking lot are compounded here].It received five Golden Globe nominations for Best Director (Kubrick), Best Dramatic Actor (Mason), Best Dramatic Actress (Winters), Best Supporting Actor (Sellers) and a win for Most Promising New Female Star of the Year (Lyon).She had possibly witnessed Amanda""s jump to her death in Century City, far away from her normal turf on Wilshire Boulevard.