Famed American playwright Phillip Hannon is in London making revisions to his play currently running in the West End. He is doing this mundane work rather than write a new play since he has retreated from life following the recent and permanent loss of his sight. That retreat from life includes breaking off his engagement to his former secretary, Jean Lennox, who still loves him. One evening at his local pub, he overhears a conversation between a man and a woman that he knows involves criminal activity, what he surmises to be the kidnapping plot of a child in exactly one week's time. The local police patronizingly dismiss his report as the overactive imagination of a blind writer. With Jean and his faithful manservant Bob Matthews by his side - the former with some reluctance on Phil's part - Phil goes on a search to uncover the plot using what little pieces of information he has at hand, which includes the man's name being Evans, the woman, who is involved under duress, working as a ...Written by
This is one of those films that work very well indeed. It is (in it's way) similar to Hitchcock's REAR WINDOW, except that film gets Jimmy Stewart, Grace Kelly, and Thelma Ritter involved with more than just Raymond Burr's crime - it gets them involved with the lives of all their neighbors in that courtyard in Manhattan. Here the film pares down the involvement of Van Johnson, Vera Miles, and Cecil Parker into the solution of who is the target of a kidnapping plot, and where will it be pulled off. But the film is as full of twists as Hitchcock's best films, and has a neat twist in the final confrontation that beats out Raymond Burr's confrontation with Jimmy Stewart and Stewart's flash bulbs.
25 of 34 people found this review helpful.
Was this review helpful to you?
| Report this