director. Its exterior set, (), which was constructed 19 miles west of Gallup, was the largest non-combat set ever constructed at the time. It measured high, wide, and deep and included an ancient cliff dwelling, collapsed cave, roadside stands, parking lots and a carnival site. Underground scenes were filmed in a mock-up at the Paramount Studios on Melrose Avenue in Hollywood. More than 1,000 extras and 400 cars were utilized in the crowd scenes. After the film was completed, Paramount charged admission to the set. Frank Cady's character identifies himself as a salesman for Pacific All-Risk Insurance, a fictitious company featured in Wilder's 1944 film Double Indemnity. Soundtrack Jay Livingston and Ray Evans wrote the song "We're Coming, Leo," performed by a vocalist and band at the carnival. Reception Critical response At the time of its release, critics found little to admire. In his review in The New York Times, Bosley Crowther called it "a masterly film" but added, "Mr. Wilder has let imagination so fully take command of his yarn that it presents not only a distortion of journalistic practice but something of a dramatic grotesque... [it] is badly weakened by a poorly constructed plot, which depends for its strength upon assumptions that are not only naïve but absurd. There isn't any denying that there are vicious newspaper men and that one might conceivably take advantage of a disaster for his own private gain. But to reckon that one could so tie up and maneuver a story of any size, while other reporters chew their fingers, is simply incredible." The Hollywood Reporter called it "ruthless and cynical... a distorted study of corruption and mob psychology that... is nothing more than a brazen, uncalled-for slap in the face of two respected and frequently effective American institutions – democratic government and the free press." Variety was more positive, noting "the performances are fine. Douglas enacts the heel reporter ably, giving it color to balance its unsympathetic character. Jan Sterling also is good in a role that has no softening touches, and Benedict's victim portrayal is first-rate. Billy Wilder's direction captures the feel of morbid expectancy that always comes out in the curious that flock to scenes of tragedy." The film has found new respect among critics. Roger Ebert of the Chicago Sun-Times wrote in 2007, "Although the film is 56 years old, I found while watching it again that it still