When Susan Gilvray reports a prowler outside her house police officer Webb Garwood investigates and sparks fly. If only her husband wasn't in the way.

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Cast

Complete credited cast:
...
...
John Maxwell ...
Katherine Warren ...
Grace Crocker (as Katharine Warren)
Emerson Treacy ...
Madge Blake ...
Wheaton Chambers ...
Dr. William R. James
Robert Osterloh ...
Coroner
Sherry Hall ...
Louise Lorimer ...
Motel Manager
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Storyline

In a fancy suburb in California, the gorgeous housewife Susan Gilvray finds a prowler outside her house late one night and she calls the police. Officer Webb Garwood and his partner answer the call but do not find anyone. Later Webb returns to Susan's house with the pretext of checking if everything is OK. Susan invites him in to have coffee with her. Webb soon learns that Susan is married to John Gilvray, a middle-aged broadcaster of a late night radio show. They also discover that they are from the same hometown. Webb makes a pass at Susan and even though she tries to put him off they soon start a love affair. When John becomes suspicious Susan ends her relationship with Webb. Though difficult Webb stays away from Susan. Without Susan's knowledge Webb plots a scheme to get rid of John; he simulates a scenario where John is "accidently" shot dead. There is an inquest and it is ruled that John Gilvray's death was not intentional. Webb quits the police-force a job he was never happy ... Written by Claudio Carvalho, Rio de Janeiro, Brazil

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She had to keep THE PROWLER from telling... See more »


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3 December 1951 (Sweden)  »

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Cost of Living  »

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1.37 : 1
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Did You Know?

Trivia

In the scene when Webb initially departs the "ghost town", the image was flipped for printing the scene, apparent because the driver appears to be on the right of the front seat. It seems this was done in an attempt to provide consistent screen direction of movement to and from the ghost town (entering right to left and left to right when departing). It's not a "goof" but an intentional manipulation. See more »

Goofs

Webb tells Susan the birth of their baby will increase the ghost town's population by 33%. The birth will increase the population by 50%. See more »

Quotes

Webb Garwood: I didn't do it Susan. I ll swear that by the only thing I ever really loved, and that's you.
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Connections

Referenced in Trumbo (2007) See more »

Soundtracks

Baby
Lyrics by Dick Mack
Music by Lyn Murray
Sung by Robert Carroll (as Bob Carroll)
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User Reviews

 
THE PROWLER (Joseph Losey, 1951) ***1/2
5 July 2009 | by (Naxxar, Malta) – See all my reviews

My second tribute to Joseph Losey, following hot on the heels of M (which was actually shot afterwards) is the director's own favorite among his Hollywood work and also crime novelist James (L.A. CONFIDENTIAL) Ellroy's all-time favorite film! Van Heflin has one of his best-ever roles as the embittered cop who forces himself onto lonely housewife Evelyn Keyes and eventually contrives to shoot her night-time radio personality husband in self-defense. As a matter of fact, for its first half, THE PROWLER (a clever misnomer of a title and decidedly no relation to the 1981 Joseph Zito exploitation flick) plays almost like a role-reversal rehash of DOUBLE INDEMNITY (1944) but Losey admirably turns the whole thing on its head with the climactic ghost town section. Indeed, the surfeit of chatter and intermittently disjointed editing of the film's first half hardly prepare one for that extraordinary high-pitched finale which already serves to crystallize Losey's uniquely nihilistic world-view so early in his career. Being another film of the director's that is very hard to come by, I guess one has to feel glad that, following a very hazy start, the copy I got my hands on settled nicely into a much more satisfactory viewing experience than M. Similar to that later film, the crew of THE PROWLER is made up of some notable names: Robert Aldrich and Don Weis are once again employed in the same capacities of assistant director and script supervisor respectively – but also producer Sam Spiegel (billed, as was his current custom, under the pseudonym of S. P. Eagle) and, as screenwriters, an uncredited Dalton Trumbo and Hugo Butler – soon-to-be exiled (like Losey himself after all) for their past Communist affiliations – both of whom would go on to work with my all-time favorite film-maker Luis Bunuel on, respectively, Trumbo's own JOHNNY GOT HIS GUN (1971) and ROBINSON CRUSOE (1952) and THE YOUNG ONE (1960)…not to mention Losey's later, ambitious but ill-fated art-house venture EVA (1962)!


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