Helen, but when Scott replaced Neal, Lancaster had to be replaced by Heston. Though Heston and Scott had previously worked together in Dark City, feuding was reported between the two on the set. The film was a box-office failure. Eight months later in February 1954, Wallis and Scott parted ways. Scott was now a freelancer. In April 1954, Scott attended the Cannes Film Festival. Though she left for London immediately after the festival, her visit to France had unforeseen consequences. Later that month, it was announced that she would be the host of High Adventure, a travelogue television series for CBS, but she never appeared in it. As Scott put it: "out of the clear blue sky one morning, I woke and decided that I never wanted to make another film again. It was just a spark, I can't explain it." Regardless, she made three more films: The Weapon (1957), Loving You (1957) and Pulp (1972). Critical reception Though the public response to Scott was generally favorable during the Paramount years, the film critics were less so, repeatedly making unfavorable comparisons to Lauren Bacall and Tallulah Bankhead,Betty Gose (Wednesday, February 12, 1947), "Blonde Makes Trouble For Bogart in 'Dead Reckoning'," Scenes From The Cinema, The Amarillo Globe-Times (Amarillo, Texas), p. 19 beginning with Bob Thomas' March 1945 comment about her screen test: "Her throaty voice may well make Lauren Bacall sound like a mezzo soprano." When the most prominent critic of the era, Bosley Crowther of The New York Times, gave a bad review of You Came Along (1945), Scott's film debut, she recalled: "Being very young and naïve at the time, I didn't know you weren't supposed to do such things, so I called him up and complained. I told him how hard everyone worked to make such a beautiful movie, and I couldn't understand how he could be so cruel. I must say he took it awfully well, and was very kind to me." Nonetheless, in his review of I Walk Alone (1948), he stated: "As the torch singer ... Lizabeth Scott has no more personality than a model in the window of a department store." He also wrote of "a frighteningly grotesque Lizabeth Scott, who is supposed to represent a cabaret singer" in Dark City (1950). Scott's style of acting, characteristic of other film actors of the 1940s—a cool, naturalistic underplay derived from multiple sources—was often deprecated