The black characters have a Voice.
Gregg Toland's photography has such dark blacks it's almost had ENR. Great use of staircase; perspective camerawork is at times almost weird. Clever touches e.g. we can just see Carl Benton Reid's legs behind the curtain. Deep focus wonderful - about the only time we have shallow perspective is when Marshall is dying up the stairs in the background.
Play / screenplay Lillian Hellman.
The three leading ladies, Hellman, Wyler, Daniel Mandell (editing - William Hollmes won for Sergeant York), Meredith Wilson (music) and Film were all Oscar nominated - but not Toland or Marshall, who both deserved to be.
Incredible long takes allow acting to flourish. There are frequently times when you expect a reverse shot for a character's reaction - but one isn't given. This happens for example in long scene with Marshall and Davis, where we see the back of her head for a while until she turns into profile. But the stand-out scene involves Wright, Collinge, Marshall and Grayson, with only a couple of different shots, both of which frame all or most of the actors, and its emotional power is increased by this very simple and effective blocking / treatment.
Quite open ending too - we presume Wright's going to leave home (her last look to mother is deep) but aren't sure; and sense Davis' plot may backfire on her.
Incredible.
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