it now seems disconcertingly arch. Its creakiness, however, is among the film’s dramatic assets, as it seems like it was uncovered from a trunk in someone’s attic. Looked at next to these other postwar films, it appears out of time. In composition and performance style it almost seems cut from the same cloth as Dudley Murphy’s low-budget O’Neill adaptation The Emperor Jones (1933), which was made more than a decade earlier—an eternity in cinematic time.
March 11, 2013