https://a-rabbitsfoot.com/editorial/film/the-fatal-history-of-robert-siodmaks-the-killers/

Engaging in its way, but it points up the restlessness that seemed to both galvanize and plague Siodmak, who was never really at home anywhere after he was forced to leave Germany in 1932.

The essay hints at this aspect of Siodmak, but doesn't engage with how it manifests in his films, preferring (as is the case with most semi-slick film writing these days) to telescope itself into a single film. While THE KILLERS is a most worthy film, there is much more about Siodmak to explore--particularly the restlessness that keeps pulling us away from the center of his narratives. Perhaps THE KILLERS works best of all the American noirs because the push-pull of the flashback structure embodies and encompasses that sense of restlessness.

Fraser does pinpoint the source of this--the rootlessness that clearly caused Siodmak to gravitate toward noir, a feature of his career that manifested just as soon as he left Germany (TUMULTES, his first noir, appears in 1932, as he joins Renoir, Litvak, and Maurice Tourneur in birthing film noir as we know it). Clearly he was homesick for his native land: Fraser notes that Siodmak cited THE DARK MIRROR as his other favorite American noir alongside THE KILLERS. She suggest that the reason for this choice had to do with his opportunity to work with Eugen Shufftan, a fellow German emigré.

Some other interesting details appear periodically in the essay--you are invited to discover them on your own...