Theatrical release poster
|Directed by||Curtis Bernhardt|
|Produced by||Robert Lord|
|Screenplay by||Sydney Boehm
|Story by||Alan R. Clark
|Based on||the play
by Alan R. Clark
|Music by||Bronislau Kaper|
|Edited by||Conrad A. Nervig|
|Running time||99 minutes|
High Wall is a 1947 film noir, starring Robert Taylor, Audrey Totter and Herbert Marshall. It was directed by Curtis Bernhardt from a screenplay by Sydney Boehm and Lester Cole, based on a play by Alan R. Clark and Bradbury Foote.
Steven Kenet catches his unfaithful wife in the apartment of Willard I. Whitcombe, her boss, and apparently strangles her. Believing he killed her, he attempts to commit suicide by driving his car into the river, but is stopped and sent to the county psychiatric hospital for evaluation to determine if he is sane enough to be charged with murder. He has no memory of what happened, likely due to a pre-existing brain injury.
Dr. Ann Lorrison takes an interest in his case, and him. Surgery could cure his brain injury, but he refuses to consent to it, preferring a life in an insane asylum to a probable murder conviction. However, when Lorrison informs him that because his mother has died, his son will be sent to an orphanage, he changes his mind. (In fact, Ann has obtained temporary custody of the six year old.)
Meanwhile, Henry Cronner, the janitor of the apartment building, attempts to blackmail Whitcombe. When Whitcombe rebuffs him, Cronner threatens to see Kenet. He tells Kennet he has information that could help him, but does not give any details. Later, Whitcombe sends Cronner plummeting to his death down the building's elevator shaft.
Kenet undergoes "narcosynthesis" - a light dose of sodium pentathol - to help him remember what happened. He recalls blacking out just as his hands were around the unfaithful woman's neck and later regaining consciousness to find her dead body nearby. Kenet escapes from the hospital and, taking a reluctant Lorrison along, breaks into Whitcombe's apartment. He recreates the scene, in hopes of jogging his memory, then returns to the hospital before he is missed.
Whitcombe visits Kennet before he is to be released. He provokes Kennet by confessing to the two murders; as he had hoped, he is attacked by Kennet, making the latter look like a homicidal lunatic. (Whitcombe had tried to break up with Helen Kennet after finding Steven Kennet unconscious in his apartment, but she threatened to cause a scandal, ruining his chances of becoming a partner in his publishing firm.)
In desperation, Kennet breaks out of the hospital again and, with Lorrison's help, manages to get to Whitcombe, despite a police manhunt. He subdues Whitcombe; with the help of sodium pentathol administered by Lorrison, the murderer confesses everything to them and the police.
- Robert Taylor as Steven Kenet
- Audrey Totter as Dr. Ann Lorrison
- Herbert Marshall as Willard I. Whitcombe
- Dorothy Patrick as Helen Kenet
- H. B. Warner as Mr. Slocum
- Warner Anderson as Dr. George Poward
- Moroni Olsen as Dr. Philip Dunlap
- John Ridgely as Asst. District Attorney David Wallace
- Morris Ankrum as Dr. Stanley Griffin
- Elisabeth Risdon as Mrs. Kenet, Steven's mother
- Vince Barnett as Henry Cronner
- Jonathan Hale as Emory Garrison
- Charles Arnt as Sidney X. Hackle, Steven's court-appointed lawyer
- Ray Mayer as Tom Delaney, a hospital attendant
- Robert Hyatt as Richard Kennet, Steven's son (as Bobby Hyatt)
The New York Times was glib in their review, writing, "As straight movie melodrama, employing modern psychotherapy, High Wall is a likely lot of terrors, morbid and socially cynical. Just the thing for your holiday entertainment—unless, of course, you are sane."
Film critic Dennis Schwartz called the film "a tepid and chatty psychological melodrama that is embellished with black-and-white film noir visuals by the adept camerawork of Nicolas Vogel," and discussed the problem with the film, "The other main performers are adequate but too bland to convince us that their romance was possible. Robert Taylor's personal despair was more like angst in a soap opera than film noir. The film's biggest faults were that it was never convincing as a mystery story, that the romance story was more Hollywood fantasy than real, that the truth serum is so casually accepted as the answer to establishing the truth and that brain surgery can so easily cure Taylor of his mental disorder."
Writer Spencer Selby calls High Wall "Stylish, representative of late forties noir thrillers."
- The Eddie Mannix Ledger, Los Angeles: Margaret Herrick Library, Center for Motion Picture Study.
- High Wall at the TCM Movie Database.
- Scott Eyman, Lion of Hollywood: The Life and Legend of Louis B. Mayer, Robson, 2005 p 401
- The New York Times. Film review, December 26, 1947. Accessed: July 17, 2013.
- Schwartz, Dennis. Ozus' World Movie Reviews, film review, September 23, 2004. Accessed: July 17, 2013.
- Spencer Selby (1984). Dark City: The Film Noir. McFarland Classic. ISBN 0-7864-0478-7.