Avis des critiques

The antipathy [between Lake and March] seems pretty obvious to me but I must say that I've only been able to appreciate Lake when she's matched with the equally diminutive Alan Ladd, two hardboiled Dresden dolls in "This Gun for Hire" and "The Blue Dahlia." More entertaining than Lake's dopey affection for March is her war with his fiancée, played by Susan Hayward—an unequal battle of two Brooklyn babes.

As [Lake and March] play off one another, Clair's imagery breaks down the sense of a world dictated by the logics of science or anything resembling reason, and thus inventively conveys an exhilarating sense of the madness of love.

Shadows and gloom dominate the visual palette from the grim opening shots, but Clair always finds a way to add a peevish glint of light among the darkness that points to the film's softer aims. Unfussy frames nevertheless display a precise control that hides visual gags in plain sight.

Hollywood comedy... has recently been tending toward the genteel, with writing teams dominating the picture. The more it gets like this the less good it is, and mor especially, the less funny. The dependence on charm seems to be altogether on the wrong track, when you think how thoroughly you used to laugh at the early Disney, the Marx Brothers, Chaplin and Clair himself. It used to be that the characters were inherently funny, now they just say funny things.