"John McCarten of "The New Yorker" wrote that "when the film stops trying to be esoteric and abandons arcane mumbling for good, rousing melodrama, it moves along in the manner to which Hitchcock has accustomed us ... Fortunately, the English expert hasn't forgotten any of his tricks.He still has a nice regard for supplementary characters, and he uses everything from train whistles to grand orchestral crescendos to maintain excitement at a shrill pitch ... All in all, you'd better see this one."