Agrega una trama en tu idiomaTo avoid the heat of a sweltering summer night a 9-year-old Manhattan boy decides to sleep on the fire escape and witnesses a murder, but no one will believe him.To avoid the heat of a sweltering summer night a 9-year-old Manhattan boy decides to sleep on the fire escape and witnesses a murder, but no one will believe him.To avoid the heat of a sweltering summer night a 9-year-old Manhattan boy decides to sleep on the fire escape and witnesses a murder, but no one will believe him.
- Dirección
- Guionistas
- Elenco
- Nominado a 1 premio Óscar
- 5 premios ganados y 3 nominaciones en total
- Murdered Seaman
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- Cop Carrying Stretcher
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- Police Officer
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- Police Officer
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- Police Officer
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- Police Officer
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- Observer at Scene
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- Police Officer
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- Stranger on Street
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- Police Officer
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- Detective Ross
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- Dirección
- Guionistas
- Todo el elenco y el equipo
- Producción, taquilla y más en IMDbPro
Opiniones destacadas
This is a very real film, in that we all know children who 'fabricate' as easily as they breath. Bobby Driscoll was superb. I've never seen his Disney work -- now I'll keep my eye out for his name.
I loved seeing a younger Arthur Kennedy (before he played only drunks) and a plain but always pretty Barbara Hale (pre-Perry Mason). Both were excellent and demonstrated a range I never gave them credit for.
There are many tense scenes as Driscoll faces his nightmare all alone. The audience shares his fear as the killers have him next on their list. The acting is realistic as is the dialogue. The film also has eerie sections (eg, Ruth Roman outside Driscoll's window with a torch as he hides in his locked room) and dramatic moments (eg, when the killers kidnap Driscoll and put him in the back of a cab and they encounter a policeman). The strategy that Paul Stewart and Ruth Roman use to shut him up during the cab ride is genius. It's very funny and demonstrates perfect teamwork.
Children are usually annoying in films. Not here. A dramatic ending in a disused apartment block adds to the tension. Worth watching again. The way the movie is filmed and the location all add to the experience of a film that is actually quite scary in parts.
Seeing this taut little thriller in a small western town when I was 10 not only scared the heck out of me, but influenced my perception of urban life for years to come. Seeing the film again 60 years later, I'm impressed with producer Dore Schary's insistence on the grimness of the tenements, at least by later suburban standards. There's no attempt to glamorize or even varnish the family's dingy, cramped flat. Whether on NY location or on an RKO sound stage, the lighting remains dark and oppressive. Of course, that not only heightens the noirish atmosphere, but also lends an uncommon degree of realism to the family's working- class environment. After all, Dad works the nightshift, while Mom helps with the extended family, leaving little Tommy home alone. And that, I believe, amounts to more than just a handy plot device. And get a load of the on-location ruins where the kids play at the beginning—looks like something out of post-war Europe. No wonder MGM went after Schary in an effort to become more socially relevant in post-Andy Hardy America. There may be a lot of Hollywood in the melodrama itself, but the look and feel is definitely not Hollywood of the time. What a fine little film that's still edge-of-the-seat excitement. And, if I recall correctly, I was an especially good little boy for a long time afterward.
¿Sabías que…?
- TriviaThis film was shot in the latter part of 1947 but shelved by RKO boss Howard Hughes and released in 1949. When Bobby Driscoll got his Juvenile Oscar in 1950, he was 13 years old.
- Errores(at around 4 mins) While running down the top flight of stairs to play with the neighbor boys, Tommy's breath is visible. His breath is visible again (at around 25 mins) while he is running to the police station, just after he runs past the canopy of 136th. This is due to shooting in the late Fall when the movie is set in the 94 degree heat of summer.
- Citas
[last lines]
Tommy: [Tommy and his parents are in the back of a police car on the way to the police station] And that's all the truth.
Police Officer: That was some jump, son.
Tommy: Yeah, but I know one thing. I'm never gonna be a fireman. I don't like jumpin' in those nets.
Ed Woodry: I'm proud of you, Tommy. And from now on, I promise I'll believe you.
Tommy: I'm glad, Pop. And from now on, I promise I'll never make up another story.
Mary Woodry: That'll make us all happy.
Ed Woodry: I'll bet when we get down to the station, a lot of guys are going to point at me and say, "There goes Tommy Woodry's father."
[Tommy smiles and his father chuckles over a shot of his son's beaming face]
- Créditos curiososThe role of "Tommy" played by BOBBY DRISCOLL by special arrangement with WALT DISNEY
- ConexionesFeatured in Crumb (1994)
Selecciones populares
Detalles
- Fecha de lanzamiento
- País de origen
- Idioma
- También se conoce como
- The Window
- Locaciones de filmación
- Nueva York, Nueva York, Estados Unidos(abandoned tenements on 105th and 116th Streets)
- Productora
- Ver más créditos de la compañía en IMDbPro
Taquilla
- Presupuesto
- USD 210,000 (estimado)
- Tiempo de ejecución1 hora 13 minutos
- Color
- Relación de aspecto
- 1.37 : 1