the character." Harrison's Reports wrote that "the story is unconvincing, but it has been produced well and acted capably." John McCarten of The New Yorker wrote: "Since the hero and heroine of the film are never dealt with sympathetically, the mating calls that preface their amour are monotonous. But once they get around to murder, things pick up and I'm confident you'll enjoy the resulting legal byplay that goes on between Hume Cronyn, as Miss Turner's lawyer, and Leon Ames, as the prosecuting attorney. As a matter of fact, Mr. Cronyn and Mr. Ames take most of the acting honors, and there is a decided letdown in the picture after a courtroom clash in which both of them participate with vast enthusiasm." Writing in 2000, critic Stephen MacMillan Moser appreciated Lana Turner's acting and wrote, "It is perhaps her finest work—from a body of work that includes very few truly stellar performances. She was a star, and not necessarily an actress, and because of that, so much of her work does not stand the test of time. She is best remembered for the spate of films like Peyton Place and Madame X that traded on her personal tragedies, but Postman, which predates all that, is a stunner—a cruel and desperate and gritty James Cain vehicle that sorely tests Lana's skills. But she succeeds marvelously, and from the first glimpse of her standing in the doorway in her white pumps, as the camera travels up her tanned legs, she becomes a character so enticingly beautiful and insidiously evil that the audience is riveted." On Rotten Tomatoes, the film holds an approval rating of 89% based on 27 reviews, with an average of 8.00/10. The website's critical consensus reads, "The Postman Always Rings Twice spins a sultry web of mystery with a gripping adaptation of a classic noir tale." The film, considered a classic example of film noir, showcases the distinctive features of the genre: the femme fatale, an alienated and tragic antihero figure and a mutual plot against the female character's husband. The story is narrated by the antihero in the form of a voiceover recollection of events past. The aesthetic quality of the film creates an atmosphere of disorientation, rejection of traditional morality and overall pessimistic tone. Other adaptations Le Dernier Tournant (1939 French film) directed by Pierre Chenal Ossessione (1943 Italian film) directed by Luchino Visconti Cronaca di un