Ein Mann geht seinen Weg

The suspense of this film evokes the work of Alfred Hitchcock. It doesn't quite live up to such a comparison but nonetheless the plot and character interactions should rivet most viewers to the film. Creative shot selection (especially the preparation of the wife's death), fine performances (especially from Deborah Kerr), and a compelling plot create an entertaining movie experience, 7/10. I think this was Gary Cooper's last screen performance.

May I respectfully disagree with many of the posters here, who, knowing that Cooper had cancer while he made this film, claim that his under-played performance proves that he lacked the necessary vigor to do the character of the beleaguered husband justice. Quite the opposite! Cooper, who was famous for under-acting, most perfectly portrays a long-loving long-suffering husband who understands why his wife suspects him, but has decided (until the end) not to tell his wife the truth. If you watch his performance carefully scene-by-scene, you will see how skilfully he manipulates the audience: Cooper makes us believe he might be guilty or ... if you wish, might not. A tour-de-force of keep-them-guessing acting in the classic Hitchcock manner. Is he evil out isn't he? Much credit must be given here to the masterful direction of Michael Anderson, another neglected English director of exceptional talent with camera and actors who ended up doing too much minor work in Hollywood, as well as the superb contribution of Berlin-born cinematographer Erwin Hiller, a protege of FW Murnau and Fritz Lang.The B&W photography is astonishing. A plot full of improbabilities, yes, and the music keep spelling out what we can see, but all in all, an excellent job of suspense in the glossy English manner.

Not-bad adaptation of Max Ehrlich's novel "First Train to Babylon" turned out to be Gary Cooper's final film (he died before its release). An American Air Freight sales manager in London testifies against a fellow employee in a murder/robbery trial; five years later, with the manager and his spouse now living in luxury, the wife begins to suspect that her husband was the killer the entire time. Hurt by a seemingly lower-end budget--and by a script that doesn't always make sense--this is still a most unusual project for Cooper, who manages a fine performance. Film builds to a fine pitch of suspense in its concluding sequence (which Adrian Lyne might have studied for his "Fatal Attraction" closer). Deborah Kerr stays wide-eyed and white-knuckled throughout as Cooper's wife; she's also quite good, though the godawful shlock music by William Alwyn underlines all of her suspicions with a thundering of drums that could wake the dead. So, is Cooper guilty or not? The finale provides an amusing frisson or two--and a twist which the ghostly voice-over informs the audience to please not betray. **1/2 from ****

This movie is a very superb and well made thriller. Im surprised it got such a low rating considering its entertainment value. From the beginning the movie starts us right away with the premise. From there we are taken through a very suspenseful ride in trying to figure out wether a woman is right in suspecting her husband for murder, accusing the wrong man for murder, or covering up for the murderer. As the movie develops, different clues keep popping up and were made to really think and engage. As the movie gets closer to it's climax, the suspense gets more intense. The acting is very convincing and I found myself truly sympathetic for Martha in her efforts to figure out the truth. . Add the great camera work and shadow effects, this movie is now on my list of favorite classic movies. Don't let the other users discourage you, they are simply trying to compare the movie to other films that are not meant to be compared to. Watch it for yourself and see how fun the ride truly is.

In Gary Cooper's last performance you can see that he is almost washed up, acting like an old age Roark (from 'The Fountainhead') stiffer than ever with very little stamina left, although still acting in a most difficult part and that convincingly, as even his role is a character dangerously perpetually on edge, while Deborah Kerr makes up for his doubtful ambiguity in her superb rendering of a married lady who just can't make things add up, wavering between an increasing suspicion of her husband's possibly having committed an heinous murder while at the same time refusing to believe it could be true. Another asset is Peter Cushing's brilliant acting as the prosecutor. The film begins with the murder trial with Gary Cooper sweating from the beginning, he himself can't make things quite fit while he is perfectly convinced that he couldn't be wrong, while the triumph of the film is the very clever story. By the accumulating inconsistencies a suspense is mercilessly built up and increased all the way to the bitter end in a virtuoso thriller more like Hitchcock than any Hitchcock. The real turning point though is the marvellous scene with Diane Cilento as the victim's wife, whom Deborah Kerr visits with traumatic consequences, which really triggers her suspicion and conviction that nothing in this story fits. After the climax in the end with all battles fought to the bitter end, everything falls into place however with perfect logic. This is a marvel of a thriller, and not even Hitchcock could have made it more exasperating in its irrevocably constantly increasing unbearable suspense. This is Michael Anderson's best film, and you regret that he didn't make more films like this one.