A seemingly standard femme fatale story that signals its twist a mile off - the bad girl villainess bearing all the requisite markers of needy/crazy/damaged - but inverts itself just before the end. Suddenly the full weight of the film’s conscience is placed upon her, bringing down the immoral man who abused her needfulness, first to sate his own desires, later for monetary gain.
Electra out of the Blitz and into Beverly Hills, just a stark dream shared between Otto Preminger and Howard Hughes... A lyrical drift punctuated by shocks, a central Preminger work bridging his noir impressionism and his later institutional open-questions. For Rivette "a network of relationships, an architecture of connections," for Godard nothing less than one of the "ten best American sound films."
...The same keenness laced with self-disgust provokes the deadly finale with femme fatale Jane Greer, and infuses Otto Preminger’s Angel Face (1953), an equally perverse gem, in which the fatal attraction between Mitchum and Jean Simmons drives them into another death machine.