Wonderfully lurid and so many scenes that are just great cinema. Despite some obnoxious Hollywood trappings (like the corny music in the final scene), this is a very satisfying Mid-century Hollywood picture. 4.5
Underrated Renoir and probably his best American production. The naturalism of his French work combined with a style that seems like a mix of expressionism and impressionism. You do, unfortunately, feel like there are parts of it that are missing but what is their is so atmospheric and psychologically dramatic that I don't really mind the sense of it being incomplete.
It's aesthetic looks ahead to Cordelier, showing a blend of empathy and cruelty in each of the protagonists. There is something apprehensive in Peggy's desire to leave her husband, tragic in Tod's passive-aggressive sadism, self-destructive in Scott’s murder attempt. The fire cleanses each of their morbid desires. "Now you know all our secrets" can be said of the couple, but not the lieutenant and his epiphany.
A hidden American gem from director, Renoir. It seems bit confused from the surface, but in deep down, it is filled with sensibilities and impressive symbol uses. The sky, the sea, the wave, the beach, and the wrecked ship all symbolize unstable spirit of each characters. A quite memorable last American film of a great French director.