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Charles Marquis Warren
Cheryl Draper (Barbara Stanwyck) sees a murder through her bedroom window, but no one will believe her. She is stalked by the suave killer ('George Sanders'), who first takes steps to convince police she is crazy, but she has ally in a sympathetic policeman (Gary Merrill). Written by
When Cheryl first runs up the stairs of the building under construction there are a couple of current-day cars, and about a dozen spectators. A few minutes later on the top as she looks down, there are well over a hundred spectators, street flares, and several vintage 1930s era vehicles, which clearly indicate this is stock footage from a much earlier production. See more »
I was surprised to come upon this film "Witness to Murder" tonight on TV as I hadn't heard of it before - always nice to discover an old movie with excellent, familiar actors. I get the impression of it being a part of the transitional period for some actors from movies to early TV dramas, in live productions that carry such realism as this film does.
I tuned in late and missed the first few minutes of the movie where wily Albert Richter (George Sanders) is purported to have committed his evil deed; unfortunately Sanders has always been one of my favourite actors, one of the best ne'er-do-wells (as in The Ghost and Mrs. Muir, Samson and Delilah, and All About Eve), and I wasn't a little old lady in those days but a budding teenager. His suave demeanour always fascinated me and he carries this over from film to film. By the way, in this 1954 movie his few lines in German weren't very convincing but his villainous role is very well set forth.
It's obvious that Barbara Stanwyck as the frustrated witness, Cheryl, carries a huge emotional burden throughout, and does it well - a real pro! This is a moderately predictable melodrama when crime inspection was more simple somehow. The music is very prevalent in most scenes and seems to override everything at times especially near the climax but that's to be expected.
Good popcorn fare! Enjoy some reminiscing moments of 'film noire' in top form.
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