Peter Labuza’s review published on Letterboxd :
Watched in a 16mm black and white version of what is a color film (I couldn’t even find screenshots online of what the color scheme was, and too bad because John Alton was the DP), but helped add to the noirish atmosphere of what can certainly be described as Dwan’s political phase, though I’m guessing he didn’t care for politics and just shot whatever script he was handed (Dwan expert Gina Telaroli says he hated producing). Really great stand offs building here as the narrative mounts between the various characters who come into this drama, adding another possible firecracker and another possibility of danger. Real shame then it finds what is clearly the most banal and simplest ending (especially given the role of the young outlaw who watches everything); I hate to play this kind of role in criticism, but when you can think of 10 better endings than the one you’re given, something is probably off. However, seeing it oscillate through its various motions is more than good enough—Dwan’s set up for these shoot outs have a no-BS approach to them. Add that any scene with Anne Bancroft is ripe with sexual tension (plus that constant cut to a painting of a woman dancing, the dangerous temptress), and this is a fun little metaphor for the Cold War.