problematic, as she was 42, while the character of Daisy as depicted in the novel is 32. A make-up artist and shadowy cinematography were employed to disguise Crawford's age. Andrews and Fonda were not fond of the script, but completed the film to fulfill their contracts. Production of the film was completed without setback, two days ahead of schedule and only $100 over the set budget. Ruth Warrick stated that Preminger "carried himself like an army officer, and behaved like a general moving the troops." Warrick also commented on the amicable relationship of the director and his lead star, saying, "With Otto and Joan, we had two tyrants on the set, and that may have kept both of them in line." The only apparent problem on set was the maintenance of a temperature of 50 °F to ease Crawford's hot flashes. According to Warrick, "she was always in tennis shorts and a thin blouse because she was so hot, while I had to wear a fur coat to keep warm. Otto said not one word about the temperature." Crawford presented Andrews and Fonda with long underwear as appeasement. Reception Reviews at its release were generally positive, if dismissive. Otto Preminger himself stated that he forgot he had made the film. Variety'''s review stated that the central "triangle, in which Dana Andrews and Henry Fonda fight it out for the love of Joan Crawford, is basically a shallow lending-library affair, but it's made to seem important by the magnetic trio's slick-smart backgrounds - plus, of course, excellent direction, sophisticated dialog, solid supporting cast, and other flashy production values." T. M. P. in the New York Times noted, "Miss Crawford is, of course, an old hand at being an emotionally confused and frustrated woman, and she plays the role with easy competence." Otis L. Guernsey, Jr. in the New York Herald Tribune commented, "Preminger accomplishes no mean feat in guiding these people in and out among the interweavings of their own complexes, and he does wonders in varying the action of similar scenes." Initial dismissal of Daisy Kenyon has given way to some critical reappraisal in recent years; it has earned a cult following, with some calling it a misunderstood masterpiece and one of Preminger's best films. Mike D'Angelo, giving the film a grade of 99 out of a possible 100 points, hailed Kenyon as "the most bluntly realistic romantic melodrama I've