Review: ‘High Wall’

High Wall [based on a play by Alan R. Clark and Bradbury Foote] garners a high score as a strong entry in the psycho-melodrama cycle. Unfolded credibly and with almost clinical attention for detail, film holds the interest and punches all the way.

High Wall [based on a play by Alan R. Clark and Bradbury Foote] garners a high score as a strong entry in the psycho-melodrama cycle. Unfolded credibly and with almost clinical attention for detail, film holds the interest and punches all the way.

Robert Lord has given the melodramatics fine production polish and able handling to spotlight best features in story of a man who believes he has murdered his wife during a mental blackout.

Robert Taylor is seen as a man believed homicidally insane, being treated at mental hospital pending trial for murder of his wife. His case seems hopeless until a femme doctor breaks down his reluctance to try treatment to penetrate details that occurred during the lapse of memory.

Taylor scores in his role, making it believable. Audrey Totter registers strongly as the doctor, displaying a marked degree of talent able to handle most any character. Herbert Marshall is another who clicks as the murderer who cloaks his sin behind the garb of a pious publisher of biblical tracts. H. B. Warner movingly creates a pathetic mental case.

High Wall

Production

M-G-M. Dir Curtis Bernhardt; Producer Robert Lord; Screenplay Sydney Boehm, Lester Cole; Camera Paul Vogel; Editor Conrad A. Nervig; Music Bronislau Kaper Art Dir Cedric Gibbons, Leonid Vasian

Crew

(B&W) Extract of a review from 1947. Running time: 98 MIN.

With

Robert Taylor Audrey Totter Herbert Marshall H.B. Warner Warner Anderson
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