आलोचक समीक्षाएं

Seventy-five years after its original release, Key Largo proves that there’s a timelessness to great acting, a visceral thrill to watching legends go toe-to-toe that doesn’t dull with age.

Maxwell Anderson's poetic-political play about crime and fascism, set in a "Petrified Forest"-style ensemble during a Key West hurricane, was turned by Huston and co-writer Richard Brooks into a crackling thriller. [27 Nov 1998, p.Q]

Perfectly tense atmosphere and performances, with the sparks flying between Bogart and Bacall.

Fans of the genre will enjoy the scene in which Robinson's moll sings Moanin' Low, about a woman trapped in a relationship with a cruel man. [06 Aug 2011, p.30]

A little windy and rhetorical for my taste, but still one of John Huston’s best efforts (1948), a melodrama of ethics that soundly represses the Maxwell Anderson play it was based on (the ending is actually a lift from To Have and Have Not).

Key Largo belongs to its villain, through and through.

Key Largo is heaps of fun if you’re willing to go along for the ride, but perhaps slightly more silly than audiences might expect (or creators intend).

A tense film thriller has been developed from Maxwell Anderson's play, Key Largo. Emphasis is on tension in the telling, and effective use of melodramatic mood has been used to point up the suspense.

What the play was supposed to be about -- which was dim enough in the original -- is even more obscure in the script that he and Richard Brooks (then a screenwriter) prepared, but the movie is so confidently and entertainingly directed that nobody is likely to complain.

The script prepared by Mr. Huston and Richard Brooks was too full of words and highly cross-purposed implications to give the action full chance.