Review of The Lady from Shanghai (1947) by Naoya K — 06 Nov 2015

Orson Welles' notorious noir has polarised critics for generations, but there's no denying the quality of the film's audacious visual style.

Characterised by skewed camera angles, extreme close-ups and breezy surrealism, Welles' film looks fabulous from start to finish; even when its storytelling makes absolutely no sense. The film's dreamy narrative is never dreary, but the script juggles a sweet sense of humour with a sickening sense of over-complication, and the two don't always comfortably mix.

The final act takes place somewhere between The Cabinet of Dr. Caligari and The Twilight Zone - and the entire set piece is utterly shattering. Just be aware that there's a fair few sweaty foreheads, sultry whispers and low quality Irish slurs to sit through en route.