From Martin Scorsese’s A Personal Journey Through American Movies (1995):
“In the old two-strip Technicolor… the color blue couldn’t be reproduced, but now the three-strip process covered the entire spectrum. Extra-wide cameras could expose three negatives simultaneously, each recording one of the primary colors. This is Gene Tierney, an angel face with the darkest of hearts. Leave Her to Heaven was a fascinating hybrid: a film noir in color….
“Now, you have to remember that color was rarely used for contemporary drama then. It was more associated with period pieces and musicals. John Stahl’s direction and Leon Shamroy’s cinematography conjured up an unsettling super-realist vision. This was a lost paradise, its beauty ravished by the heroine’s perversity. Rather than encourage realism, the Technicolor palette went even further and added flamboyance to the melodrama.”