A Testemunha Oculta

I'm frequently amazed by the low scores, and detrimental reviews about older films on here.

Some films have you gripping the seat of your chair, others have plenty of whooping and hollering - this was comfortable armchair viewing, where you could almost smell the hay, the stables, and the flowers in the village church.

This might have a somewhat predictable storyline, but the softened focus and beautiful locations further enhance the performance by an excellent cast of recognisable characters.

The transition from bustling streets in the States, contrasts beautifully with the tinkling of bicycle bells in a quintessential English village, as the lead character enters the local inn - run by Mr Memory, from The 39 Steps.

The livery stables are as I remember some from the 1950s, with overhanging ivy, and leaning gates - in fact the portrayal of a post war village is perfectly played.

Having a somewhat predictable plot provides a suitable vehicle for an experienced and talented cast, to display their talents and ability to a greater effect - giving impeccable and almost imperceptible nuances to their characters and portrayals.

There was ample time for the enjoyment of these performances, whilst still absorbing the plot line, the anticipated conclusion in the courtroom, and the final scenes around the magnificent house and garden.

In his final film Robert Montgomery's boredom is only too apparent in this uninvolving courtroom drama that however boasts a cast that manages to include both Leslie Banks and Stanley Baker.

It bears a striking resemblance to the similarly titled 'Hostile Witness' (also directed by and starring a visitor from Hollywood, on that occasion Ray Milland), even down to the judge being played by Felix Aylmer; the later film's most obvious concession to the passage of time being that that was in colour.

Robert Montgomery, by 1950 better known as an actor than as a director, takes on both duties in EYE WITNESS (or YOUR WITNESS, in the US movie circuit) - and I have to say that he does remarkably well.

To that end, he is ably assisted by the UK postwar-evocative cinematography of Gerald Gibbs, and screenplay by Hugo Butler and Ian Hunter, telling of US Major and lawyer Adam Heyward flying to the UK to save from the gallows a UK Army sergeant who had saved his life behind German lines during World War II.

Of course, upon arrival in the UK he finds that the English spoken there is different (some chuckles at the interpretation of words and expressions), that lawyers and judges dress and address colleagues and the public rather more formally than in Uncle Sam, and he meets a host of British characters played by supporting thespians of the highest grade, including Michael Ripper as the wrongly accused friend Heyward does his utmost to rescue from the noose, Felix Aylmer as judge, James Hayter as trial witness, Stanley Baker as a copper, Leslie Banks as Colonel Summerfield, pretty Shelagh Fraser as Ellen Foster, and many others in a supporting cast bristling with talent and sobriety to give the film an authentic British background.

Montgomery delivers a quietly effective performance, bemused at times, serious at other times, always with an eye on stunningly beautiful Patricia Wayne.

Though perhaps 10-15 minutes longer than it needed to be, dialogue is interesting throughout, B&W photography highly accomplished, especially the bucolic setting, which the extremely pleasant score by Malcolm Arnold only enhances.

After showing courage in directing and acting in LADY IN THE LAKE four years ealier, in which he appeared only in reflections in the mirror, Montgomery comes full circle as a talented director in this his final film, before turning to TV work.

Certainly worth watching.

As director, Robert Montgomery displays considerable intelligence here, using a leisurely pace and disarming comedy relief in emphasizing British versus American conversation. When those crucial scenes central to the main story and high drama come to pass, they are all the more effective by way of contrast. The kid on the witness stand is as potent as "Witness for the Prosecution" with Dietrich by Billy Wilder years later (Agatha Christie's play was first produced in 1953).

In his final movie role as actor, Montgomery impressively dominates the screen as protagonist in nearly every scene, investigating the case and interacting, sometimes comically but potently as the show's drama escalates. Similarly, the supporting performances by Patricia Cutts, stepdaughter Ann Stephens and Leslie Banks move from low-key to powerful and poignant by the eventful final reel.

Robert Montgomery's final screen appearance,which he also directed,is a slow moving mystery which spends far too much of the running time on irrelevant scenes pointing up the supposed differences between the British and American character. Montgomery meets a gallery of UK stereotypes such as garrulous publican,dim witted police sergeant and stuffy judge.

The plot concerns RM travelling to England to help clear an old army buddy of a murder charge. There is some mild suspense during the last twenty minutes when the identity of a secret witness is revealed. Leading lady Patricia Cutts (called Patrcia Wayne here) is one of those rather horsey English blondes with a cut glass accent. Her acting is rather stilted and there is little chemistry between her and Montgomery. It's a far cry from his wonderful acting/direction job on Lady In The Lake.