A stewardess becomes romantically involved with an airline pilot, a college professor, and a successful businessman, all of whom are named Mike. When the three find out about each other, ... See full summary »
Nick and his partner Al stage a payroll holdup. Al is shot and Nick kills a policeman. Nick hides out at a public pool, where he meets Peg Dobbs. They go back to her apartment and he forces her family to hide him from the police manhunt.
G.I. Nick Blake, a never charged con man in his pre-military life, has just received an honorable discharge from the army on medical reasons. Rather than return to his old life, he plans to... 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 <firstname.lastname@example.org>
This film received its USA television premiere in Los Angeles Monday 15 October 1956 on KTTV (Channel 11), followed by Philadelphia Saturday 3 November 1956 on WFIL (Channel 6) and by New York City Sunday 24 February 1957 on WCBS (Channel 2); in San Francisco it was first telecast 4 February 1958 on KGO (Channel 7). See more »
At around ten minutes, a group of doctors are looking at Kenet's skull x-rays. The x-rays are hung behind the illuminated frosted glass panels - so that we can see the x-rays, but the doctors could not. And the x-ray as we see it is oriented correctly to show a left side hematoma, but to the doctors, the x-ray is reversed meaning the hematoma would be on the right. See more »
THE HIGH WALL gives Robert Taylor a chance to demonstrate that he was a very capable actor and much more than just a pretty face. Audrey Totter, as a psychiatrist who decides to help him prove he did not kill his wife, makes a strong impression opposite him. And Herbert Marshall is quietly effective as a mysterious man who knows the truth.
All of it is directed in brisk film noir fashion by Curtis Bernhardt with the accent on dark shadows and rainy streets to give it the proper noir atmosphere.
Rather than tell the plot, I'll just say that the story moves swiftly and keeps the viewer absorbed from start to finish. It's a well-paced thriller that makes use of psychiatric trends that may date the film today--but it's all done with such authority that whatever script contrivances are present don't really matter. It's intense and absorbing all the way in true film noir style. Taylor has seldom been more convincing as the distraught bomber pilot trying to find out whether he killed his wife or not.
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