German Robert Siodmak within his American stage would be one of the most important of his career film, since part of enshrining him in an important position in the history of the celluloid it would lead him to fight at the Oscars that year in the category of best director, in a night that William Wyler would triumph by the best years of our lives (1946). This title that would combine the genre of film noir and intrigue would be accompanied by an attractive narrative structure (the director would employ jumps in time and flashback to show us from the beginning part of the end (two mobsters killed an employee of a gas station), then, as the footage progresses go shelling why this outcome) and a masterful photography in black and white by Elwood Bredell which would fill if possible even more quality of the film. In it, Siodmak would have with the early presence of two future myths in the history of cinema, Burl Lancaster and Ava Gardner (both would repeat with this filmmaker’s) (separately in the fearsome mocking (1952), the embrace of death (1949) and the drama the great sinner (1949)), the first developing the role of the Swedish, a boxer in low hours stuck in shady with a few criminals and Ava Gardner, where making his first appearance as a protagonist would be put on the skin of Kitty Collins, a woman of great physical beauty and great wickedness which will be decisive in the passing of the work. Notably, the soundtrack of Miklos Rozsa (composer of the mythical Ben-Hur (1959) or Julio Cesar (1953)) among others (). As a curiosity, in 1964, Don Siegel leaning on the same story which is based this work of Robert Siodmak (the assassins of Ernest Hemingway) would be also interesting code of the underworld (1964) with Lee Marvin and Roland Reagan in the roster of actors.