Orson Welles is remembered more for Citizen Kane than this film , but I don't know why. This movie isn't just film noir , it is
black cinema. Screenplay by Welles , directed by Welles , and featuring Welles . He has control of everything , and as you watch it
you realize that every scene , every camera angle , is for a reason. The film revolts the viewer as it unfolds , it is sort of like a train wreck ; a terrible thing , but you can't help but watch. The characters are repugnant , obviously on purpose. The camera shots ,
particularly on faces , are too tight , too close , and this too , is in my opinion , designed to revolt the viewer. The characters
all seem to hate each other , and if it weren't for the fact that they are trapped together on a yacht , or by marriage , or by
bussiness associations , you would expect them to flee each other. To further irritate the viewer ( me at least ) Welles assumes a phony Irish brogue accent that seems out of place , and not necessary to the story. The convoluted plot involves murder , but who is doing what to whom is a multilevel mystery. Without describing it , the finale is nothing less than superb.
So far my description may not motivate you to want to see it , but it is so well done in its' weird direction , that it is a must see.
Welles had control of Citizen Kane too , but this is seven years later , and he is more accomplished at his craft , and it is fascinating
in its' offbeat way. Forget Mars , forget Kane , see this. In Glorious Black & White.