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5.8/10
Senior Film Conservator
A definitive 5.8/10 rating for a film that redefined the boundaries of cult cinema. Elinor Norton remains a cornerstone of transgressive art.
If you have a soft spot for pre-code era melodramas that move at breakneck speed, sure. It’s definitely not for anyone who needs their characters to make sensible life choices. You’ll probably walk away feeling like you just watched someone try to solve a Rubik’s cube while wearing oven mitts.
There is a specific kind of exhaustion that comes with watching Tony. He is the kind of guy who turns a quiet wedding dinner into a theater production because his wife dared to be polite to a friend. It’s exhausting. You can almost see the actor working overtime just to keep up with how many times the script demands he flip from 'grovelling husband' to 'homicidal maniac.'
The transition from the WWI trenches back to the ranch feels like a whiplash moment. One minute they are dealing with shelling and heavy dramatics, the next it’s all cowboy hats and Texas longhorns. It’s a strange shift.
Claire Trevor carries a lot of the weight here. She’s got this way of looking at the camera where you know she’s just waiting for the next disaster to happen. She’s the only one who feels like she’s living in the real world.
It reminds me a bit of the chaotic energy in The Rage of Paris, though it lacks that specific brand of wit. There’s no time to breathe between the jealousy fits and the dramatic gun-pointing.
Honestly, the movie gets a lot more interesting when the ranch hands show up. It’s like the film finally realized it needed some background noise to distract from Tony’s constant pouting. Sometimes, the silence in the house is louder than the dialogue.
Don't look for logic. If you start asking 'why would she stay?' you're going to have a bad time. Just watch the train wreck and appreciate the hats. 🤠
