Muller is scene-specific and only occasionally pauses. He covers the producer Howard Hughes, casting, production background, the narrative theme and noir elements, locations/set, and score. He also points out the differences between the film and the 1928 version of the same material, which Muller says he actually prefers and to this end points out the 1951 film's weaknesses. Additionally he focuses a lot on identifying what scenes here are reshoots and who the director of them was since this was yet another production that was plagued by the perceived interference of Hughes who liked to tinker post-production.