One of my very favourite films and further proof, if needed, that Fritz Lang did not leave his best work behind in Germany when he fled the Nazis for Hollywood in the early 30's. I could eulogise all day about the cinematography, but that would do a disservice to a strong narrative which seems to give a mild contemporary nod to the recently slain Bonnie and Clyde and some terrific acting especially by the two leads. There are so many shots to savour, I'll name just a few which caused me an admiring intake of breath;- for example the scene early in the film with a reflected image of the at that point still optimistic newly-weds sitting by the frog-pond, the expressionist use of shadows seemingly radiating out from Fonda's cell as he paces it in frustration and what may have been the first cinematic use of the three possible "Hold the front page" headlines in the press depending on the outcome of Fonda's trial plus of course the rightly famous eerie smoky set-piece where Fonda panics and shoots his friend the prison priest. Even simple framing shots (one of Sydney to camera looking into the runaway couple's car from Fonda's viewpoint, for example) are delivered with style and finesse, there's no question there's mastery at work here. The acting by Sydney and Fonda is great, passionate, completely in character and utterly convincing in conveying the depth of their relationship, crucial considering the incredible demands Fonda's character makes of the law-abiding Sydney. Who got the Oscars in their stead this year, I wonder? The bitter-sweet ending (the couple find release only in death) is absolutely right as is so much of this bravura Fritz Lang feature. Students of film noir can learn much from this dark and compelling work, all delivered in 86 engrossing minutes.