"I’ve always been drawn to ensemble work. Renoir’s films constantly give a sense of joyous communal activity. All the characters in this film, as in most of his films, are specific and memorable—and Renoir’s vision of life is never pat: he can go from farce to tragedy in a moment, seamlessly, and all the while managing to be above the emotional content of his films. Understanding of it, compassionate towards his characters, but fearlessly above it. In addition his staging, both of the actors and in the camera work, is breathtakingly imaginative."

"I love intimate ensemble pieces that allow you to get to know the dynamic amongst a group of characters without overly complex plot lines. The movie certainly made me wish I’d grown up with those people. You know, despite their flaws. They really had such a wonderful, deep love and friendship between them that I think is meaningful. It’s a phenomenal cast and I just loved the history that was created amongst the characters without it being fed to you; it was unraveled for you throughout the film."

"“In what ca-TEG-ory would you put Mr. James Joyce?” Or, for that matter, this film? Among other things, I’d call it the best gangster picture ever made. Orson Welles got the most mileage from it (including a radio spin-off that recast the swinish Harry Lime as a good-natured rogue), a renown I find difficult to fathom, given the superb ensemble work by Joseph Cotten, Trevor Howard, Alida Valli, Bernard Lee, Wilfred Hyde-White, and a doctor who pronounces his name VINK-el. Carol Reed’s direction makes the most of every incident, and the whole package is tied up with one of the best musical scores ever."