Luc Gehant’s review published on Letterboxd:
The post war era was not as kind to Joan Crawford as she attempts to play a much younger woman here. Still between Henry Fonda who also wasn’t acknowledged at this point to have the same success and box office pull that he’d gained in his other pre-WWII pictures. Only Dana Andrews who’d already done four other pictures with Preminger alone was the bigger name. This triangle melodrama pivots Crawford in a relationship with a well off, married and successful attorney played by Andrews who keeps her things going with her even though he promises nothing more. Henry Fonda appears as a veteran that she meets at a bar one evening and begins dating even though there’s not as much of a pull on his part to fight for her attention so much as to come to a happy medium. In an unusual manner this story can mirror the nature of Lang’s ‘Clash By Night’ but not precisely under the same circumstances. Here, the first relationship was an affair which given the strain of the circumstances abruptly ends when Ms Kenyon decides to switch teams. Things reverse course again when Andrews marriage abruptly comes to an end and Daisy Kenyon is dragged into it. Fonda’s character thus chooses to back away from the limelight. I should add that there’s a stunningly exaggerated car accident that in its own right. No one would likely come away unscratched yet Crawford literally walks away from it. This may have all the themes of a noir and while Dana Andrews throws out nick names to every person he comes into contact with. I’m not sure if this one would be taken as to be one of the more noteworthy ones exactly. It’s a hoot for sure but I don’t know that the portrayals here are even close to the hardened ones. Lots of Vaseline on the camera lens and shots in the dark here are done in hopes of hiding Crawford’s 40+ age and not for the aesthetic value.