The first film to tackle post-Holocaust life is still among the best. Between Lumet, Rod Steiger, DP Boris Kaufman, editor Ralph Rosenblum and composer Quincy Jones you have an unbeatable ensemble. Stylistically this fits nicely between Orson Welles’ later work and Cassavetes. It’s weird, because the ending still manages to be uplifting — it is a tragic ending, but since Sol recognizes that there is tragedy, that he can feel anything, this is something of a victory. One could argue that the visual symbolism is a little heavy (cages, spikes through hands) but it is totally earned.