|
|
| Director Nicholas Ray maintains nice suspense. Bogart is excellent. |
|
| |
| (Variety) |
|
| Bogart gives his best tigerish performance for many a year. |
|
| |
| (New Statesman and Nation) |
|
| An excellent director, an unusual story, a good script and an inspired piece of casting for Bogart... The dialogue is crisp and astringent. The film moves brightly but rhythmically and even at times with a touch of poetry. |
|
| |
| (Joan Lester, Reynolds News) |
|
| Unpretentious - but a gripping thriller. |
|
| |
| (Reg Whitley, Daily Mirror) |
| |
| [Bogart] catches admirably the emotional ups and downs of a deeply disturbed individual, grasping at straws for a return to normalcy. |
|
| |
| (Motion Picture Herald) |
|
| Bogart gives his best performance for many a year. |
|
| |
| (New Statesman) |
|
| An achingly poetic meditation on pain, distrust and loss of faith, not to mention an admirably unglamorous portrait of Tinseltown. Never were despair and solitude so romantically alluring. |
|
| |
| (Geoff Andrew, Time Out Film Guide, 1998) |
|
|
| Nicholas Ray's 1950 film deserves to be better known; it's one of Hollywood's finest examinations of masculinity. |
|
| (Armond White, New York Press, 2009) |
|
, Gloria Grahame3, Frank Lovejoy
