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Long after his death in 1950 director John Stahl was described by Andrew Sarris as a neglected pre-Sirkian figure, and with Natalie Kalmus making sure the images were clean and bright Leon Shamroys Oscar-winning Technicolor photography was not then permitted the dramatic high-contrast look Russell Metty created ten years later for Douglas Sirk at Universal (the lens flare at one critical moment probably made it into the final print only because it was in a scene shot on location and Technicolor therefore couldnt insist upon it being re-shot)

Alberg, researcher at the Johns Hopkins Bloomberg School of Public Health and School of Medicine

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