Danny, a Marine Corps veteran of World War II, re-enlists when the Korean War breaks out. He joins a Marine motion picture unit specializing in combat footage. There he re-encounters Mitch,... See full summary »
Julia, a divorced American fashion designer, is dying of a tragic, incurable disease. With only ten days to live, she spends her time vacationing in an Italian villa and watching television... See full summary »
Loosely inspired from Gauguin's life, the story of Charles Strickland, a middle-aged stockbrocker who abandons his middle-classed life, his family, his duties to start painting, what he has... See full summary »
The marriage of rubber-plantation owner Jim Frazer and his wife, Liz, which has survived many disasters, including years in a Japanese internment camp, is at a breaking point. Under ... See full summary »
John Barrington escapes from an asylum for the criminally-insane and finds refuge on the ranch of turkey-raiser Ezra Thompson. Barrington, who has suffered from amnesia, finds his memory ... See full summary »
Ewald André Dupont
Mary, a writer working on a novel about a love triangle, is attracted to her publisher. Her suitor Jimmy is determined to break them up; he introduces Mary to the publisher's wife without ... See full summary »
Maisie is overworked at her defense job and is ordered to take a two week vacation. When she meets Tommy, he offers her a job singing with his band in Reno, but she has to get there on her ... See full summary »
Elizabeth and John say good-bye as John leaves to go to war. When the war ends, Elizabeth receives a telegram that John has been killed in action. She finds comfort in Larry and they marry.... See full summary »
Steven Kenet, suffering from a recurring brain injury, appears to have strangled his wife. Having confessed, he's committed to an understaffed county asylum full of pathetic inmates. There, Dr. Ann Lorrison is initially skeptical about Kenet's story and reluctance to undergo treatment. But against her better judgement, she begins to doubt his guilt, and endangers her career on a dangerous quest through dark streets awash with rain. Written by
Rod Crawford <email@example.com>
The old man singing "Home on the Range" in the bathtub treatment room doesn't sing the correct lyrics. He sings "where seldom is heard a disparaging word, And the skies are cloudy all day."
And the skies are not cloudy all day. The correct lyric is "Where seldom is heard a discouraging word,
And the skies are not cloudy all day". See more »
As another reviewer has remarked, "The High Wall" contains a fine performance from the often wooden Robert Taylor. The main character is this tale is in an archetypal "fugitive" situation: he is determined to find the true murderer of his own wife, a crime of which he is himself accused. Taylor underplays the desperation nicely, and he elicits a convincing concern for his young son. This 1947 film also captures Taylor at the tail end of his best looks. The stony appearance that calcified his later career is here only incipient.
What distinguishes "The High Wall" even more strongly is the oppressively 'noir' quality of its cinematography. Several scenes have a powerful 'noir' mood: dark, rainy streets, claustrophobic apartment rooms. Moreover, there are a couple of well done 'whirlpool' flashbacks, as well as some surprising violence.
The film is economically and atmospherically directed by Curtis Bernhardt, who guided Joan Crawford through one of her best performances in "Possessed" (also 1947).
Every other performer in "The High Wall" is in top form, but the underappreciated Audrey Totter must be singled out. For some reason, this gifted actress has been virtually ignored in appreciation of 1940s films, particularly in regard to 'film noir'. She has created several memorable and beautifully played characters in 'films noirs' like "Tension", "The Setup", "The Lady in the Lake" "The Postman Always Rings Twice"--to name a few. In "The High Wall", Totter balances the weight of the drama perfectly against Taylor's character. Together, they bring distinction to what could have been ordinary fare.
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