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Moonrise (1948)

Passed  -  Crime | Drama | Film-Noir  -  1 October 1948 (USA)
7.2
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Ratings: 7.2/10 from 821 users  
Reviews: 28 user | 19 critic

Danny is being despised by his schoolmates because his father was accused to have killed another man and is condemned to the death penalty.

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(screenplay), (novel)
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Title: Moonrise (1948)

Moonrise (1948) on IMDb 7.2/10

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Nominated for 1 Oscar. See more awards »

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Edit

Cast

Cast overview, first billed only:
...
Gail Russell ...
Gilly Johnson
...
Grandma
Allyn Joslyn ...
Sheriff Clem Otis
...
Mose
...
Billy Scripture (as Henry Morgan)
David Street ...
Ken Williams
Selena Royle ...
Aunt Jessie
...
Jimmy Biff
Irving Bacon ...
Judd Jenkins
...
Jerry Sykes
Houseley Stevenson ...
Uncle Joe Jingle
Phil Brown ...
Elmer - Soda Jerk
Harry Cheshire ...
J.B. Sykes (as Harry V. Cheshire)
Lila Leeds ...
Julie
Edit

Storyline

Danny Hawkins, who lives in a psychological shadow because his father died by a hangman's noose, accidentally kills a man in a fight over a girl, Gilly Johnson, and is afraid to notify the police. He wins the love of the girl but when she tries to influence him to admit his guilt, he runs away. Written by Les Adams <longhorn1939@suddenlink.net>

Plot Summary | Add Synopsis

Taglines:

HER ARMS...HER LOVE...HIS ONLY ESCAPE FROM A HERITAGE OF HATE! (original poster -all caps)


Certificate:

Passed | See all certifications »
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Details

Country:

Language:

Release Date:

1 October 1948 (USA)  »

Also Known As:

Frank Borzage's Moonrise  »

Box Office

Budget:

$849,452 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Soundtracks

I'll Be Home for Christmas
(uncredited)
Written by Walter Kent, Buck Ram and Kim Gannon
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User Reviews

An Astonishment
29 November 2002 | by (Edinburgh, Scotland) – See all my reviews

MOONRISE shines. Borzage brings expressionist silent movie technique to bear on what is really more a melodrama than a film noir, a tale of guilt and redemption ultimately close to his romantic concerns. The difference is the degree of psychological angst we have to go through with the protagonist in order to reach it. Borzage's technique brings us into the hero's mind, from the stunning opening (flashbacks within flashbacks) to the hero's guilty visions. That opening is one of the finest I've ever seen, building up an unbelievable pressure in the first couple of minutes of the picture, leading to a thirst for revenge which the hero, and the audience, can spend the rest of the film regretting.


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