That something has gone wrong from the point of view of the production is hardly in doubt; but the direction, in which each shot carries the indelible mark of the most peculiarly modern of film-makers. What does one mean by this? How does one recognize Nicholas Ray’s signature? Firstly, by the compositions, which can enclose an actor without stifling him. . . . Finally, by a sensitivity to décor, which no other American director since Griffith has been able to use so vividly and powerfully.
August 01, 1957