The ghosts,
nightmares and creepy noises (horror elements) are not as disturbing as the two extremely
violent scenes in the film, one at the beginning, one at the end.
It was also in New York that Thompson quickly arrived at his mature style, taking Dody Müller's advice to heart by reworking the compositions of European Masters such as Piero della Francesca, Nicolas Poussin, and Jacopo Tintoretto into simplified, abstracted forms painted in threatening and seductive tones that were hot and
violent or deep and dark — seizing on the dynamism of these classical
scenes and often transforming them into contemporary allegorical
nightmares.