Shadow on the Wall

'Shadow on the Wall' is the kind of film that has always interested me and is the sort that one would see me visiting quite a lot. The title is a catchy and attention-grabbing one and the story on paper sounded really interesting. Also interesting was to see Ann Sothern and Zachary Scott in roles as atypical as one can get, it is always fascinating when actors and actresses play against type. This is a heavier than usual role for Sothern and Scott is not the villain or mysterious character this time around.

Finally seeing 'Shadow on the Wall', after being behind on my film watching and reviewing, due to slowing down to help sort myself out a bit, it turned out to be an effective and well done film if falling a little short of being great. It is an example of actors actually excelling at playing against type and even if it is an uneven film a lot works in 'Shadow on the Wall's' favour. If one asks me if 'Shadow on the Wall' is recommended by me, my answer would be yes if not entirely enthusiastically.

A lot of good things here. Sothern shows that she can do more than the more light-hearted roles, here she is cold-blooded and almost femme fatale like and she does this pretty chillingly. Scott also sheds his usual villainous and mysterious character image and plays a more sympathetic character, he displays that side very well too in having intensity but not in a sinister sense this time. Gigi Perreau is neither too cute or too much of a brat, she plays a haunted young character pretty unsettlingly and it does haunt the mind. All the cast, including Nancy Reagan, are good.

The production values are stylish and atmospheric, not once looking cheap while never trying to do too much. The music is suitably ominous when necessary. The script doesn't descend into awkwardmess or cheese, instead it flows well and intrigues. The story is mostly fine, more the first half than the second, while not rushing the build up it unsettles still.

Not that the second half isn't strong, actually thought that there was intrigue and tension. The suspense got lost though in the final third or so and the momentum dipped, so it wasn't as involving or as atmospheric as what came before.

Moreover, the pace is not always there, it's solid in the first half but is erratic in the second with some padding going on.

In conclusion, well done if not great. Anybody that likes it when actors play against type should see this, two actors do it and they excel at it. 7/10

Unheralded little thriller with a number of nice touches. Little Gigi Perreau (Susan) has the pivotal role and comes through beautifully. If we don't identify with her or her emotional trauma, the movie doesn't work. Fortunately, we do. The movie scared the heck out of me as a boy, mainly because I was viewing the menace through the eyes of my peer, little Susan. Still, it's the movie's ability to engage even adults through Susan's eyes that drives the suspense. For the little girl, it's an adult world only dimly comprehended that one night turns so shockingly ugly, she must repress it totally. Nancy Davis Reagan-- perhaps surprisingly for many viewers-- is very persuasive as the doctor helping Susan to recover.

Looks like this was another B-movie from MGM's Dore Schary period when he was refashioning the studio's star-studded image. The under-rated Scott and Sothern are certainly playing against type, he as a kind-hearted father, she as a cold-hearted murderess. Oddly, the screenplay shares focus among these four players instead of centralizing one or two as is usually the case. In terms of actual screen time, it's probably Nancy Davis's movie, though she was likely too unknown to get star billing. Then too, whatever happened to Kristine Miller as Scott's faithless wife. She certainly looks the part and acts it wickedly.

Speaking of talented unknowns, director Pat Jackson put this neat little package together. His career appears a rather brief one, mainly in England, where he also directed several episodes of the cult TV series, The Prisoner. Too bad he disappeared so quickly, because there are a number of nice directorial touches here. Note Pike's (John McIntire) shadow engulfing Dell (Sothern) at movie's end indicating the retribution to come; the blurry special effects mirroring little Susan's traumatized mental state; the suggestive hair-drier closing over Dell's head like an electrocution helmet; the great noirish shot of Dell framed against ominous skyscrapers suggesting dark powers looming over Susan. Anyway, this all adds up to a very effective little thriller, proving that even though late to the party, MGM could B- movie with the best of them.

This is a very good B movie done in the noir style. Ray June was the cinematographer, and his deep focus work makes the film worth seeing all by itself. Note particularly the bedroom scene where everything is doubled. Zachary Scott, for a change, plays the typically confused noir male, and Ann Sothern, showing the force of period style, switches from Maisie to a somewhat tormented femme fatale. Enjoy!

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

A young girl(Gigi Perreau) becomes traumatized after she witnesses the accidental killing of her stepmother(Kristine Miller). Well-acted film noir showcases the dramatic talents of the exceptionally gifted actress Ann Sothern, who was known primarily for her 'light' roles in films like MAISIE. The film also features an early appearance by Barbara Billingsey, better known as June Cleaver on the popular '50's sitcom LEAVE IT TO BEAVER.