Books on film noir tend to downplay this film because of its cheapness, but actually for Monogram it was an elaborate little film, an "A" by their standards. The claustrophobia created by their own cramped standing studio street sets added to the sense of entrapment so essential to noir, while Henry Sharpe, a superb cameraman who worked on some of the best silents, deliberately mutes his normally bright and cheerful style. The plot, as always with Woolrich, is none too logical, but it does have some real surprises. William K. Everson