Quiet, organised Dr Talbot meets nightclub singer Nora Prentiss when she is slightly hurt in a street accident. Despite her misgivings they become heavily involved and Talbot finds he is ... 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.
On trial for murdering his girlfriend, philandering stockbroker Larry Ballentine takes the stand to claim his innocence and describe the actual, but improbable sounding, sequence of events that led to her death.
At the age of 9, Tommy Woodry has a reputation for telling tall tales -- the latest one being that his family is moving from Manhattan to a ranch out west. When the landlord interrupts the Woodrys at dinner to show their about to be vacated apartment, the Woodrys tell Tommy enough is enough. Then that hot summer night Tommy decides to sleep on the fire escape -- outside the Kellerson's apartment, since it is a story higher and gets more breeze. Tommy sees the Kellersons kill a man. Tommy's parents and the police won't believe his story. But the Kellersons want to silence him. Written by
Dale O'Connor <email@example.com>
This film was shot in the latter part of 1947 but shelved by RKO boss Howard Hughes and released in 1949. When Bobby Driscoll got his juvenile Oscar in 1950 he was 13 years old. See more »
When Tommy pushes one end of a long roof beam off the beam segment on which he is perched (1:08:42), the free end of the long beam falls but its other end stays attached to the wall, so it briefly hangs down along the wall (1:08:44-1:08:48), but when the top end breaks free from the wall (1:08:49-1:08:50) the cables can be seen attached to that end that were used to pull it free. See more »
Hello, Tommy. Now you be quiet if you don't wanna get hurt. What's the matter, have I ever done anything to you?
[shakes his head]
What are you runnin' around tellin' stories for?
They're not stories!
No? Well, maybe if you tell me what they are, I can explain. I don't want you thinkin' these terrible things. What is it you think I did?
You know what you did!
But I don't. I don't know what you're talkin' about. Now, c'mon, Tommy, let's be fair. You can't accuse me of something and not tell me ...
[...] See more »
The roll of "Tommy" played by BOBBY DRISCOLL by special arrangement with WALT DISNEY See more »
A little boy learns the value of truth-telling in white-knuckle, claustrophobic fashion a memorably done movie in all departments. No need to dwell here on the consensus strong points.
Seeing this taut little thriller in a small western town when I was 10 not only scared the heck out of me, but influenced my perception of urban life for years to come. Seeing the film again 60 years later, I'm impressed with producer Dore Schary's insistence on the grimness of the tenements, at least by later suburban standards. There's no attempt to glamorize or even varnish the family's dingy, cramped flat. Whether on NY location or on an RKO sound stage, the lighting remains dark and oppressive. Of course, that not only heightens the noirish atmosphere, but also lends an uncommon degree of realism to the family's working- class environment. After all, Dad works the nightshift, while Mom helps with the extended family, leaving little Tommy home alone. And that, I believe, amounts to more than just a handy plot device. And get a load of the on-location ruins where the kids play at the beginninglooks like something out of post-war Europe. No wonder MGM went after Schary in an effort to become more socially relevant in post-Andy Hardy America. There may be a lot of Hollywood in the melodrama itself, but the look and feel is definitely not Hollywood of the time. What a fine little film that's still edge-of-the-seat excitement. And, if I recall correctly, I was an especially good little boy for a long time afterward.
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