5 Comments

  1. Superb review, Tony, of a truly classic film noir. This is spot-on and beautifully put: “Director Tay Garnett and cinematographer Sidney Wagner use close-framed shots to express the suffocation of the two lovers, and panoramic elevated ocean beach scenes at dusk to portray the blooming of love and as the backdrop to idyllic respites from their doomed trajectory towards destruction. Their final visit to the beach has a dark foreboding.” I couldn’t agree more.

    My film professor showed a class a colorized version of this, a sin for which I will never forgive him.

  2. Thanks Alexander. Always a pleasure to have your feedback.

    They STILL have colorized versions? Any remaining copies should have been pulped long ago. And he calls himself a film professor!

    I recall a few years back we had a weekly film feature on a commercial TV station titled The Golden Years of Hollywood, and the distributors kept supplying colorized versions to the presenter. At least he had the decency to tell viewers to turn the color dial on their TV sets back to zero.

  3. This “dark allegory of amorality and its consequences” and of “entrapment” is indeed as you say in summary “one of the classic film noirs” and surely on many people’s “short lists.” Turner and Garfield give unforgettable, multi-layered performances, and as Conrad aptly contends it’s a film of “pessimism and disorientation” which of course are the trademarks of the genre. Concise, uncluttered capsule that says all that’s needed to promote a revisit to this essential piece.

  4. Haven’t seen it, but your concise summary effectively presents the film as, indeed, a classic film noir, and a tragic one. Somehow these always seemed especially appealing. Will add it to the list.

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