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An unmissable big-screen experience.

One of the first films to integrate musical numbers into the plot, it explores, without condescension or simplemindedness, the feelings that drive the family members apart and then bring them back together again.

Stahl's use of space and the performances in Leave Her to Heaven...suggest he was at least the equal of the much-exalted Sirk as an artist of melodrama.

A 'film noir in color' and a masterpiece of post-WWII American cinema.

Interminable.

In spite of the painstaking attempts to explore the characters of the picture's three principal heroes (Bowie, Crockett, Travis), there is an absence of emotional feeling, of a sense of participation.

As the deadlier of the refugee criminals, Steve Cochran is almost as mean as his colleague, Chill Wills, is picturesque. Their resourceful efforts would be more effective if the drama, as directed by Sam Peckinpah, did not move at the pace of a hearse.