When Criss Cross was released in the UK, The Monthly Film Bulletin of Jan 1, 1949 described it as a melodrama saying ‘this extremely sordid story is not helped by silly dialogue and trite situations, although the actors make every effort to rise above the poor material provided’.
In the years since, its reputation has risen. Alain Silver in Film Noir: The Encycopledia (London: Overlook Duckworth 2010, p.78) ranks the film one of the ‘most tragic and compelling of film noir’. Silver considers the scene above as key to the film and is worth quoting at length:
Anna is suddently there, oneirically before him as if sprung from the depths of that initial reverie. In fact, Thompson might at first suspect that he is hallucinating since there is no reason, other than his overwhelming desire, for her to be in the nightclub. Because this articulation of their relationship is purely visual, it cannot be misconstrued. The audience is not given a perspective that is literally what Thomson sees, the long lens and slow motion belie that. Rather the shot is remarkably subjective: it is what Thompson sees as distorted by the powerful emotion that he feels.
The video below is an expansion of the above, playing with the sound mixing and the slow mo to illustrate Silver’s insight that what the film shows is what ‘Thompson sees as distorted by the powerful emotion that he feels’. I have taken every shot in the sequence of Steve looking at Ana, slowed it down, and overlayed it with mix of voice-over narration and dialogue where Steve tells us what he thinks of her, of them, of his actions. I could have added the beautiful last shot of them together….but it’s not as if we didn’t know what was coming.
José Arroyo