The Postman Always Rings Twice

Metro-Goldwyn-Mayer (MGM) | Release Date: May 2, 1946

CRITIC SCORE DISTRIBUTION

84	METASCORE Universal acclaim based on 10 Critic Reviews

Positive:

Mixed:

Negative:

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Critic Reviews

Critic score Publication By date

100

TV Guide MagazineStaff (Not Credited)

The best version of James M. Cain's torrid, hard-hitting romance comes to startling life under Garnett's shrewd direction. Read full review

100

Kevin Thomas

This 1946 version became a key film in postwar Hollywood film noir. Directed by Tay Garnett, it remains one of Lana Turner's (right) very best films. [02 Feb 1997, p.78]

100

The Observer (UK)John Patterson

More film gris than film noir, it offers a biting moral conundrum at every turn. [17 Oct 2010, p.4]

Ted Mahar

Garfield is customarily strong and energetic as a desperate guy on the edge. Famous for her work in tight sweaters and halters, Turner was no thespian. But the combination of Garfield and Garnett, or something, fired a performance from her that is, in its way, perfect. [05 Mar 1999]

Stephen Macmillan Moser

With a plot hinging on twists and turns that might not have worked as well with less electricity than Turner and Garfield generate, Postman sizzles and flares with crackling tension. Read full review

Bosley Crowther

The picture achieves its distinction through the smart way in which it has been made and through the quality of its representation of two passion-torn characters. Read full review

Dave Kehr

This 1946 film is a key work of the postwar period, dripping with demented romanticism and the venom of disillusionment. Tay Garnett directed, finding the pull of obsession in every tracking shot. Read full review

Staff (Not Credited)

Development of the characters makes Tay Garnett’s direction seem slowly paced during first part of the picture, but this establishment was necessary to give the speed and punch to the uncompromising evil that transpires. Read full review

Pauline Kael

Entertaining, though overlong. The director, Tay Garnett, knew almost enough tricks to sustain this glossily bowdlerized version of the James M. Cain novel, and he used Lana Turner maybe better than any other director did.

Josh Larsen

This has little of the insinuating nature of the best film noir, as Lana Turner and John Garfield go from 0 to 60 in their first scene together. Read full review