Step Down to Terror

One of the reviews says, avoid comparison with Shadow of a Doubt.

Since it's the identical story with even some of the same dialogue, this is difficult.

Charles Drake stars as a serial widow killer, Johnny Walters. On the run, he returns to his family home, thinking he will be safe there. He is greeted by his mother (Josephine Hutchinson), his sister-in-law Helen (Colleen Miller), and her little son.

A few things happen that make Helen uncomfortable. She becomes suspicious when two "reporters" come to the house to interview a typical family. Johnny of course retires to his bedroom. Later, when he goes out, Helen sees one of the reporters photographing him. Rod Taylor plays the plain-clothes detective posing as a reporter who falls for Helen.

This movie would be okay if it weren't a remake of a much better film. Charles Drake is very handsome - reminded me a little of Joel McCrea - and this is really in the beginning of Rod Taylor's career. The acting is good.

A little trivia for Californians: Colleen Miller married Walter Ralphs. You have perhaps shopped at a grocery store that bears his name. Not bad!

Based on the title, I initially thought Step Down to Terror was going to be a horror film. I soon realized my error. That's fine because I was also up for a good suspense film and always happy to see Rod Taylor. Step Down to Terror isn't completely lacking in suspense, but unfortunately, there just isn't enough of it. For starters, I think the film takes to long in the set-up before it actually gets really interesting. Then when it does get interesting and suspense starts it's fairly quickly snuffed out when the female lead oddly, and unfortunately for everyone involved, including the audience, decides to put everything out there. The very ending scene is odd and seemed like a last minute kind of thing.

"Step Down to Terror" is a remake of the Hitchcock film, "Shadow of a Doubt". This alone makes for a very tall order, as the original was quite a picture and Hitchcock such a famous director. But what makes it all worse is that the story itself seemed second-rate at best and really kept little of the suspense that made the original worth seeing.

Charles Drake plays a man on the run from the law...though exactly what he's done isn't clear until later in the film. He arrives in his old hometown after being gone six years. He says it's to see family and perhaps settle down there, but it's really a ruse...he's there to hide from the law.

At first, the family is thrilled he is home. However, his widowed sister-in-law goes from adoring him and welcoming his return to actually confronting him when she thinks he might be a murderer...which is amazingly dumb. From this point to the ending, it all goes VERY quickly and is really disappointing.

The bottom line is that this remake is inferior in every way and I can't think of a good reason to watch it. Stick with the original...unless you want to compare them and see why the Hitchcock version is simply better.

Charles Drake shouts at his landlady who has taken some of the cash he has lying about. She says the next time the policemen ask if he's in, she'll tell them. So Drake goes on the lam, back to his mother's home in California, where he makes nice to her, to Colleen Miller, widow of his brother, and her son, Ricky Kelman. As he courts Miss Miller -- as does plainclothesman Rod Taylor, something darker than expected begins to emerge.

It's a remake of Hitchcock's SHADOW OF A DOUBT, and on its own terms, it's okay, another Universal movie about the darkness that lies at the heart of sunny 1950s America. Of course, because it's a remake of what happens to be my favorite Hitchcock movie, it seems weak in comparison. Still, for an ordinary programmer, it's all right. With Jocelyn Brando and Ann Doran.

Having acted alongside Rock Hudson, Elizabeth Taylor, James Dean, Dennis Hopper and Earl Holliman in 'Giant', the 28 year old Rod Taylor continued to get roles alongside high profile actors and actresses until his big break came in 1960 with 'The Time Machine'.