If the very survival of poise in Lubitsch was always involved with simultaneously
fueling and controlling the fires of emotion, in Edwards the impeccable precariousness of comic order often finds expression in thriller elements, as in a masterly post-credits robbery sequence that is tense, fascinating, as beautifully machined as the fantastic caper itself — and funny too, in a thoroughly distinctive alliance of the
giddiness inherent in breathbating suspense and the melodramatic effectiveness of slapstick violence.