In the films during that period, the typical public space in the Shanghai concessions had the color of metaphor and symbolism, and Shanghai became a strange and evil city.

在30年代的电影中，上海租界中的典型公共空间具有隐喻与象征的色彩，成为一座陌生、罪恶的城市。

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Everything about this anti-war film is geared for poignancy, from the snow-swept settings (the area around Park City, Utah, stands in for Europe) to the Christian symbolism.

NEWYORKER: A Midnight Clear