In 1917 Lt. Bill Gordon is headed for France when he meets and becomes friendly with Joel Carter, niece of the Asst. Secretary of War. Finding out that he is an expert on codes, she gets ... See full summary »
William K. Howard,
In 1915, German Counter-Intelligence Chief Von Sturm learns that someone is providing the British with critical strategic planning for the Turkish theater. He suspects Ali Bey, Turkish ... See full summary »
Helen Ferguson, pregnant, penniless and dumped by her boyfriend Steve Morley, takes the identity of the pregnant Patrice Harkness, when she and her husband are killed in a train crash. The ... See full summary »
Colonel John Wister, on duty with the British army in the desert region of Dubik, returns to England on leave. There he falls in love with Julia Ashton, who cares deeply for him but ... See full summary »
After a band of Indians kill a group of soldiers, Sergeant Hook captures them and their leader Nanches. Among the prisoners is Nanches' son and the boy's white mother captured by them nine ... See full summary »
Charles Marquis Warren
Dr. Leonard Gillespie, for several reasons and not all medically related, asks a young surgeon, Dr. Tommy Coalt, to go to a small town and replace a local doctor while he is on vacation. ... See full summary »
Before Ruth Vincent, daughter of a state governor, and state attorney general Robert Sheldon can announce their marriage, the governor is accused of bribe-taking. To avoid the appearance of... See full summary »
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 the police confront Cheryl Draper with the second letter she supposedly typed (with her typewriter present, to prove it matches), it isn't in the typeface of the letter we saw Richter retype on her typewriter, but in the quite different typeface of his original typing. See more »
In this effective, pre-feminist potboiler, the Barbara Stanwyck character is considered an unreliable witness because she's a middle-aged, single, career woman.
In addition to its solid performances, tight storytelling and John Alton's superior cinematography, what makes "Witness to Murder" particularly powerful today is the movie's pre-feminist view of its leading character's dilemma. "But I saw the murder, I SAW the murder," the Stanwyck character insists. Yet no one believes her because 1) she's a woman; 2) she's unmarried; 3) she's menopausal. Nobody even blinks an eye when she's dumped in a mental hospital, which gets viewers really riled because they share her point of view. The audience sees the murder along with Stanwyck and can feel her humiliation, anger and frustration. That's why the movie works.
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