It was [Davis and Wyler’s] second film together that drew Davis’s best work, indeed possibly the high-water mark of her career. . . The script began abruptly, with the scene of Leslie stalking out on a tropical veranda and impassively pumping a man full of lead. It was Wyler’s idea to foreshadow the film’s entire tragedy with his camera’s long, sinuous prowl through the sleeping Malaysian rubber plantation, and it is that buildup to the murder that gives the opening its unforgettable power.
Farran Smith Nehme
December 01, 2017