[John Huston] is a smooth blend of iconoclast and sheep. If you look closely at his films, what appears to be a familiar story, face, grouping of actors, or tempo has in each case an obscure, outrageous, double-crossing unfamiliarity that is the product of an Einstein-lubricated brain…. His films, which should be rich with this extraordinary experience are rich with cut-and-dried homilies; expecting a mobile and desperate style, you find stasis manipulated with the sure-handedness of a Raffles.
Though Huston deals with the gangster, detective, adventure thriller that the average fan knows like the palm of his hand, he is Message-Mad, and mixes a savage story with puddin'head righteousness. His characters are humorless and troubled and quite reasonably so, since Huston, like a Puritan judge, is forever calling on them to prove that they can soak up punishment, carry through harrowing tasks, withstand the ugliest taunts. Huston is a crazy man with death: he pockmarks a story with gratuitous deaths, fast deaths, and noisy ones, and in idle moments has his characters play parlor games with gats. Though his movies are persistently concerned with grim interpersonal relationships viewed from an ethic-happy plane, half of each audience takes them for comedies. The directing underlines a single vice or virtue of each character so that his one-track actions become either boring or funny; it expands and slows figures until they are like oxen driven with a big moralistic whip.
Money—its possession, influence, manufacture, lack—is a star performer in Huston's moral fables and gilds his technique; his irony toward and preoccupation with money indicate a director who is a little bitter at being so rich—the two brief appearances Huston makes in his own films are quite appropriately as a bank teller and a rich, absent-minded American handing out gold pieces to a recurring panhandler….
His style is so tony it should embarrass his threadbare subjects. The texture of a Panama hat is emphasized to the point where you feel Huston is trying to stamp its price tag on your retina. He creates a splendiferous effect out of the tiniest details—each hair of an eyelid—and the tunnel dug in a week by six proletarian heroes is the size of the Holland Tunnel. (p. 642)
The arty, competent Huston would probably seem to an old rough-and-ready silent film director like a boy who graduated from Oxford at the age of eight, and painted the Sistine Chapel during his lunch hours. (p. 643)
Manny Farber, "Films," in The Nation, Vol. 168, No. 23, June 4, 1949, pp. 642-43.