Critical Reception
In his review in the New York Times, Bosley Crowther observed, "The ultimate credit for as taut and insinuating a melodrama as has come along this year — a film which extenuates tension like a grim inquisitor's rack—must be given to Mr. Wyler. His hand is patent throughout . . . Miss Davis is a strangely cool and calculating killer who conducts herself with reserve and yet implies a deep confusion of emotions . . . Only the end of The Letter is weak — and that is because of the postscript which the Hays Office has compelled".
Variety said, "Never has been done with greater production values, a better all-around cast or finer direction. Its defect is its grimness. Director William Wyler, however, sets himself a tempo which is in rhythm with the Malay locale . . . Davis' frigidity at times seems to go even beyond the characterization. On the other hand, Marshall never falters. Virtually stealing these honors in the pic, however, is Stephenson as the attorney, while Sondergaard is the perfect mask-like threat".
Time Out London says, "A superbly crafted melodrama, even if it never manages to top the moody montage with which it opens - moon scudding behind clouds, rubber dripping from a tree, coolies dozing in the compound, a startled cockatoo - as a shot rings out, a man staggers out onto the verandah, and Davis follows to empty her gun grimly into his body . . . camerawork, almost worthy of Sternberg in its evocation of sultry Singapore nights and cool gin slings, is not matched by natural sounds (on the soundtrack Max Steiner's score does a lot of busy underlining)."
Read more about this topic: The Letter (1940 film)
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