Perhaps Winterbottom felt that he was filming for the really stupid and desensitised, in which case, thanks again, for patronising me. What kind of oaf needs a lesson of that kind? The popcorn-munching, Coke-guzzling teenager? Maybe.
Winterbottom could have learned something from Siegel’s handling of the scene in which the killers deal with the blind female receptionist. Here, the depiction of evil behaviour is not lessened by the absence of graphic detail. Yes, we have to use that old-fashioned facility called imagination.Dickenson’s femme fatale, exposed in the glaring light of day and full colour, is no less alluring than her noir predecessors, of course. If anything, her radiance heightens the contrast of what lies in her dark heart. Lee Marvin can always convey the killer superbly, without having to actually do anything. And watching Reagan play the bad guy is fascinating in itself. His woodenness seems to be an advantage as a ruthless criminal.