Peter Labuza’s review published on Letterboxd :
Lupino’s camera movement and edits remind me of Hitchcock—they’re exacting, direct, and somewhat methodical. Of course, her intentions with those methods—a Stanley Kramer-esque melodrama—couldn’t be further from Hitchcock’s playfulness. Thankfully, her actors sell it, whether in their fantastic opening dance number, or through the pains of their romance as Sally Forrest refuses to accept help to get better. It has more of an existential sense than one of Kramer’s films, even though (like A Child is Waiting) it uses actual facilities and patients. Wish it would go more feminist in its romance, almost going the entire route to establish that this character can be strong without the support of a man, and then dropping it all together in the final two shots.