7.4/10
2,763
63 user 15 critic

The Window (1949)

Approved | | Drama, Film-Noir, Thriller | 14 May 1949 (USA)
To avoid the heat of a sweltering summer night a 9 year old Manhattan boy decides to sleep on the fire escape and witnesses a murder, no one will believe him.

Director:

Writers:

(screenplay), (based on a story by: "The Boy Cried Murder")
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Nominated for 1 Oscar. Another 1 win & 2 nominations. See more awards »
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Cast

Complete credited cast:
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Storyline

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 <daleoc@interaccess.com>

Plot Summary | Add Synopsis

Taglines:

It never lets you go! See more »


Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

14 May 1949 (USA)  »

Also Known As:

The Boy Cried Murder  »

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Box Office

Budget:

$210,000 (estimated)
See more on IMDbPro »

Company Credits

Production Co:

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Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

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 »

Goofs

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 »

Quotes

Joe Kellerson: Hello, Tommy. Now you be quiet if you don't wanna get hurt. What's the matter, have I ever done anything to you?
Tommy Woodry: [shakes his head]
Joe Kellerson: What are you runnin' around tellin' stories for?
Tommy Woodry: They're not stories!
Joe Kellerson: 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?
Tommy Woodry: You know what you did!
Joe Kellerson: 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 »

Crazy Credits

The roll of "Tommy" played by BOBBY DRISCOLL by special arrangement with WALT DISNEY See more »

Connections

Featured in Crumb (1994) See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

Neo-Realism Meets Noir
16 September 2009 | by See all my reviews

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 beginning—looks 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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