Shadow on the Wall (1950)

Thanks for the memories!

Just perfect...

Although it has its amusing moments, in eneral the plot does not convince.

Great movie! If you want to be entertained and have a few good laughs, see this movie. The music is also very good,

Shadow on the Wall is directed by Pat Jackson and adapted to screenplay by William Ludwig from the story "Death in the Doll's House" written by Lawrence P. Bachmann and Hannah Lees. It stars Ann Sothern, Zachary Scott, Nancy Davis, Giggi Perreau and John McIntire. Music is by André Previn and cinematography by Ray June.A nifty psychological hot pot this one. Story centers on a young child called Susan Starrling (Perreau), who after witnessing the murder of her step-mother, succumbs to amnesia. Which is inconvenient for her father since he has been convicted of the murder and sent down to await execution. Can determined psychiatrist Caroline Cranford (Davis) eek the truth out of Susan's troubled memory? Can the real killer ensure that that isn't the case?It's a personal thing of course, but I have always found there to be something off kilter about doll's houses, and here we are greeted to an opening shot of one, superbly accompanied by Previn's ominous music, it's a perfect mood setter as to what is to come. Story lacks any mystery dynamic since we are privy to exactly what has gone on regarding the who, why and what fors, and in truth the outcome of it all is never really in doubt. So for although it's a thriller pic dressed up in film noir clobber, it doesn't have the verve or devilment to really be classed full bodied as such. But that's by the by, visually and the presence of a child in peril, with main character disintegration the key feature, puts it into noir lovers considerations.Since the title features the word shadow it's no shock to find shadows and low lights feature prominently. The lighting effects are very striking, the changes in contrasts perfectly befitting the mood of certain scenes. Such as when dialogue is implying emotional discord, or the silent mindset of our antagonists, while a couple of neat shadow smother shots are killer narrative boosts. The main building of the piece is not the doll's house, but that of the hospital where Susan is receiving treatment, and at night photographer Ray June perfectly sets it up for peril and dastardly deeds. While we also get a bit of wobble screen to signify troubled mental confusion.Cast range from adequate to very good. Honours go to Perreau, who is never once annoying, turning in an involving performance that has us firmly involved in her world, whilst Davis (the future First Lady Reagan) is very understated, where she gets a well written female character whose not relying on male dominance to expand the part. And with Jackson directing in an unfussy manner it rounds out as a pic worth seeking out. 7/10

I haven't seen many films of Ann Sothern, but apparently she starred in mostly light-hearted, comedic fare. But I feel she does a fine job in taking on this more serious, dramatic role. Nancy Davis takes a good turn as the caring psychiatrist assigned to help the young Susan remember what she saw. I must say she has never appealed to me as an actress (and even less as the psychic-obsessed First Lady). She always comes across rather vanilla and boring to me. I think the child actress did a great job as the daughter who witnesses her step-mother's murderer, but claims she can't remember anything.I liked some of the imagery used in this film. The actual murderess is sitting having her hair done at the beauty Salon, and suddenly she envisions the salon chair and the hair dryer as the electric chair. There is a nice split-screen effect when young Susan is remembering the shadow on the wall and juxtaposes it with her "Injun" doll.One oddity in the film I noticed is the court scene when the father is being sentenced - the jurors are all men. I guess this hearkens back to before women were "allowed" to be jurors. (As late as 1942 only twenty-eight state laws allowed women to serve as jurors, but these also gave them the right to claim exemption based on their sex. The Civil Rights Act of 1957 gave women the right to serve on federal juries, but not until 1973 could women serve on juries in all fifty states.) Also, there is a scene where the step-aunt (aka the murderer) is allowed to sit in a room behind a two-way mirror and observe the psychiatrist's working with Susan. This would never be allowed due to Doctor-Patient confidentiality. Also, there is a "bath therapy" where Susan is left ALONE in a treatment room in a bath hammock and almost drowns - again, something that would never happen.My biggest complaint with the movie though is the attempts that the step-aunt/murderer, Dell, takes to murder her young step-niece. I just found it pretty disturbing.Perhaps the best aspect of the film was the music score. I especially liked the opening sequence. It starts out with a happy tune, with a childish melody, then turns into a menacing, fearful tune. This sets the stage for the film. Unfortunately, the film doesn't quite deliver.

I received a great deal of pleasure watching this movie. I saw this movie years ago when I was a little girl. Although I was young, I remember it in detail and consider it to be one of the best movies I've ever seen. The actors were great and it was filled with a lot of action. It was a great mystery and very enjoyable to watch. There was a touch of horror also added in this film and it kept you on the edge of your seat. You didn't know what to expect from scene to scene. There was never a dull moment and the excitement kept you guessing who the murderer was. For certain this was a thriller that everyone would enjoy. I'd love to be able to see it on either VHS or DVD. If there is a way to put this movie on VHS or DVD, it would be worth it. We really do need more movies as good as this one.

I'm not sure why some people are bashing this movie. My only thought is that they were either too young to remember it when it used to come on quite often on the late show in the 60's or they weren't born. This matters because of the way thrillers are made and shown today. Today Hollywood is very clever with FX and big budgets to make you believe almost anything. But back in the 50's and 60's, movies had to be able to trick you into believing with smoke and mirrors. Alfred Hitchcock was a master of this. Which is why his movies were the more popular and respected of the lot. But there are many "old" movies that captured audiences' imagination with just suttle hints of realism and great acting. I mentioned smoke and mirrors, but let's add shadows to that group. This movie did just that. The "shadow on the wall" indeed was the ingredient to make this one of the sleeper thrillers of that era. Right when you think that the killer just might get away with the crime, you are hit with an obvious but unconscious dose of child's innocence which breaks through all barriers of psychology. I remember well as a little girl watching this movie in the sixties and being shocked at the end of it. It was one of those "see it every time it comes on" movies for me and my friends. That's because in part that is was well acted and challenging to the psyche. If you are looking for the new type of "sixth sense" thriller, then this movie isn't for you. But, if you like a good time trying to figure out what's going to happen, then "Shadow on the Wall" is not disappointing. It is fun without the blood and gore.