Without the resources of even Montgomery’s modest production, Siegel still manages some effective shots… He gets some kinetic handheld work pushing through the crowds as Pace tries to outrun his fate. While the Hughes novel and 1947 film are both very interiorized, the imagery filtered through Sailor/Gagin’s warped psyche, here there is no time for more elaborate visual planning. Instead it’s objective, straightforward pulp propulsion.
R. Emmet Sweeney
March 10, 2015