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High Wall (1947)

Approved | | Crime, Drama, Film-Noir | 17 December 1947 (USA)
After a brain-damaged man confesses to murder and is committed, Dr. Ann Lorrison tries to prove his innocence.

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(screenplay), (screenplay) | 4 more credits »
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Cast

Complete credited cast:
...
...
Dr. Ann Lorrison
...
Willard I. Whitcombe
Dorothy Patrick ...
Helen Kenet
...
Mr. Slocum
Warner Anderson ...
Dr. George Poward
Moroni Olsen ...
Dr. Philip Dunlap
John Ridgely ...
David Wallace (as John Ridgeley)
...
Dr. Stanley Griffin
Elisabeth Risdon ...
Mrs. Kenet
Vince Barnett ...
Henry Cronner
Jonathan Hale ...
Emory Garrison
Charles Arnt ...
Sidney X. Hackle
Ray Mayer ...
Tom Delaney
...
Richard Kenet (as Bobby Hyatt)
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Storyline

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 <puffinus@u.washington.edu>

Plot Summary | Add Synopsis

Taglines:

So tense! So taut! It closes in on you like a high wall!

Genres:

Crime | Drama | Film-Noir

Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

17 December 1947 (USA)  »

Also Known As:

Anklage - Mord  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

This film received its USA television premiere on Monday 15 October 1956 on KTTV (Los Angeles); its New York City television premiere took place on 24 February 1957 on WCBS, and in San Francisco on 4 February 1958 on KGO-TV. See more »

Goofs

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 »

Soundtracks

Home on the Range
Sung by Frank Darien as "the old man in the tub"
Written by Daniel E. Kelley
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User Reviews

 
Departure for Robert Taylor
27 June 2012 | by (United States) – See all my reviews

High Wall is a departure for Robert Taylor. In the 30's he portrayed mostly handsome society boys. In 1941 he toughened up his image with Johnny Eager. This is an entirely different path. The lead character, Steven Kenet, has returned from a job flying freight in Asia after his service in WW II. He's eager to see his wife and displeased to find out she has a job. Kenet is even more displeased when he discovers she is having an affair with her boss. To complicate matters, he has a brain injury and is suffering blackouts and other symptoms. Seeing his wife in her lover's apartment triggers rage and violence. The wife is dead and Kenet is the only suspect. He confesses and is committed to a mental institution for psychiatric evaluation. The unique thing about the film to me is Taylor's ability to play vulnerability. Kenet is neither a pretty boy nor a villain. He is a man in torment. Taylor uses his shoulders beautifully to portray hopelessness. They droop in the scenes where the character is locked in solitary confinement. After his operation they are straight. The confusion on his face when he's offered an opportunity to see his son at the hospital is masterful as he passes through a range of emotions moving from delight to doubt to anger to confusion. There is a remarkable sequence in which Kenet is dragged off after attacking a visitor. Taylor's body positions change constantly--this is hardly the "wooden" acting for which he is so often condemned. Another great sequence is his walk up the stairs at the end to see his son. Kenet's face radiates joy. The camera work is stylish and the chiaroscuro is masterful. This movie was apparently not well received in its time probably because it isn't the "Robert Taylor" people expected and it is largely forgotten now. It deserves to be remembered.


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