If you like a subtle and mature superbly acted drama with just enough humour to keep it light, you should enjoy this. Although an awful lot happens, the action somehow manages to seem inconsequential compared with the oppressive mundanity of the desert.
This film has a very modern feel to it. Set in an isolated oasis in the Nevada desert there's little to tie it down to a particular time - were it not for the old cars, it could be now. The other thing which makes this timeless is the acting, specifically that of Aline MacMahon whose character is the focus of this film. Being from the 'method school' her characterisation is much more natural than was typical in the early thirties. It's an outstanding performance.
She plays Olga who runs this little 'service station' isolated from the outside world, isolated, as we'll discover, from something in her past. We never quite find out what led her here, dragging her reluctant and resentful sister along and that's one of the things which makes this so intriguing. Whatever it was, she's not going to let it happen to her sister whom she keeps a tight rain on which in her sister's mind means stopping her having any fun.
She's content hiding from the world where her only interaction with people is with the strangers passing through. She's content hiding from who she was, hiding from being a woman until a sinister face from the past re-enters her life. When her mask slips, we perhaps get an idea of why she abandoned that former life.
It's totally addictive viewing but at the time you're not sure why. When it's over you realise that it's one of those pictures that you will always remember. Although the skies are bright and clear, the atmosphere is as thick as soup infused with something undefined but dark and dangerous. Its unrelenting oppressive heat permeates through the screen into your own world, you can taste the desert yourself - such is the brilliance of LeRoy's direction.
This film has a very modern feel to it. Set in an isolated oasis in the Nevada desert there's little to tie it down to a particular time - were it not for the old cars, it could be now. The other thing which makes this timeless is the acting, specifically that of Aline MacMahon whose character is the focus of this film. Being from the 'method school' her characterisation is much more natural than was typical in the early thirties. It's an outstanding performance.
She plays Olga who runs this little 'service station' isolated from the outside world, isolated, as we'll discover, from something in her past. We never quite find out what led her here, dragging her reluctant and resentful sister along and that's one of the things which makes this so intriguing. Whatever it was, she's not going to let it happen to her sister whom she keeps a tight rain on which in her sister's mind means stopping her having any fun.
She's content hiding from the world where her only interaction with people is with the strangers passing through. She's content hiding from who she was, hiding from being a woman until a sinister face from the past re-enters her life. When her mask slips, we perhaps get an idea of why she abandoned that former life.
It's totally addictive viewing but at the time you're not sure why. When it's over you realise that it's one of those pictures that you will always remember. Although the skies are bright and clear, the atmosphere is as thick as soup infused with something undefined but dark and dangerous. Its unrelenting oppressive heat permeates through the screen into your own world, you can taste the desert yourself - such is the brilliance of LeRoy's direction.