Every sweet love scene is punctured by sirens of bombs – right at the moment where they feel too luxurious, taking too much space in this Holocaust world. There’s also a lot of humor in this film, which in a way seem more enduring than the always temporary happiness, and which gives it a quiet sense of absurdity. And the use of mirrors is devastatingly touching, even though I can’t explain why.
The opening contains some of the most striking negative imagery I've ever seen in an Old Hollywood film, and the concept is pretty damn bold for 1958. Not on the level of Sirk's best films (Written on the Wind, Imitation of Life), but a good indicator that his interests reached far beyond the American upper class.
Cinematography by Russell Metty. "Desire" list: an actor of few resources but with a face and physicality of great virtues, John Gavin found in Sirk his two major roles, being this one the most prominent by the fact that he's one of the film protagonists. Perhaps melodrama require lower actors to pass its currents of improbability, assuming therefore the physicality that propels and justify it.