Shock

Some gifted people went to work on this one, including director Alfred Werker and star Vincent Price, but it doesn't work due to a slow pace and the absence of much movement within the film. There are too many scenes of people plotting evil deeds while a patient lies in a comatose state in bed. This does not make for an exciting movie experience. Nor is the story original, as it is hand-me-down Cornell Woolrich stuff about a young woman who witnesses a murder who is whisked off to a sanitarium by the killer, who just happens to be the psychiatrist who runs the place. The dialogue is mediocre and the actors, aside from Price, none too thrilling. I did like Reed Hadley as a police detective, whose late entry perks up the last part of the movie. He had a quiet, understated presence, and plays off nicely against Price, than whom he is almost as tall.

SHOCK hardly lives up to its promising title. It's a rather tepid little B&W thriller that serves only to remind us what VINCENT PRICE was like just as his career was beginning to take shape at Fox. As usual, he's at his best as a shady character, a doctor who commits a crime of passion only to find out that it has been witnessed by a woman neighbor. Annabel Shaw plays the woman who goes into shock after witnessing the crime--a performance that is not quite as riveting as it should be for this type of suspense yarn. The suspense lies in wondering how Price will deal with the woman. Lynn Bari is his cohort in keeping the crime away from the police.

It's a premise that has been used countless times, often to better advantage than it is here. Worthwhile for some suspenseful moments at Price's sanitarium but none of the suspense is milked for all it's worth. Frank Latimore does nicely as the husband whose wife has gone into shock after her traumatic witnessing of murder and Reed Hadley does a smooth job as a detective.

Modestly entertaining if you don't expect too much.

Although it is fun to see Vincent Price early in his career before his spine-chilling horror roles really took off, this psychological thriller feels long at 70 minutes.

Janet Stewart (Anabel Shaw) checks into a hotel at night and waits for the return of her GI husband. While in her room she sees a woman being murdered and sinks into a state of comatose shock. She's carted off to a psychiatric hospital but the psychiatrist (Price) is not all he seems.

A formulaic story isn't helped by the wooden performances of Shaw, of Lynn Bari as nurse Elaine Jordan, and by Frank Latimore as Lt Stewart.

Moody B picture visuals and the usual tinny music give this minor film a sense of space and time but overall 'Shock' is a bore which outstays its welcome.

Of interest to Price fans but not really much there for anyone else.

At first, Shock looks like it should be assigned to the `Oneiric' Wing of forties film noir, but soon comes to occupy a niche in the Evil Psychiatry Wing instead. Anabel Shaw checks into a San Francisco Hotel awaiting her serviceman husband. Bad weather has delayed him, so, instead of curling up with a cozy mystery, she witnesses a murder from the balcony of her suite. Next morning, her husband finds her in a state of complete catatonia. A psychiatrist (Vincent Price) is summoned, who turns out to be none other than the murderer.

Checking sight angles from the balcony to his apartment across the way, Price realizes that Shaw's trancelike state no doubt stems from her seeing him take a candlestick to his older, inconvenient wife. He whisks her off to that chamber of horrors, his Private Sanitarium, to find out what she remembers. He and his accomplice/mistress Lynn Bari devise a scheme to make Shaw, and everyone else, think she's delusional – that she views everyone as a murderer. Meanwhile, however, a fluke of circumstance leads the police to reopen the case of Price's wife, whose death had been contrived to look accidental. Next, Price and Bari escalate their therapy to dangerous insulin-shock treatments....

Price glides through his role with the disdainful urbanity that was his trademark in the morning of his career; interestingly, though, the plot turns on his having some shreds of conscience, or at least professional ethics, after all. The same can't be said of Bari as the Lady Macbeth of the piece; what can be said is that there should be more of her. She hits her peak during a violent nocturnal thunderstorm, when a menacing patient slips out of his room and into Shaw's. It really does turn the sanitarium into a chamber of horrors.

According to the Films Of Vincent Price from the Citadel Film Series, sometime in late 1945 Darryl Zanuck was on one of his budget cutting kicks and was looking to produce cheaper films. Vincent Price was offered the story of Shock and liked it and said he could get it done under 20 days with no interference. Zanuck gave him his head on this one and Price and director Alfred Werker brought it in 19 days shooting time.

Shock was also the film that Vincent Price got top billing for the first time in his career. He plays a psychiatrist who kills his wife because she won't give him a divorce to marry the sultry Lynn Bari. The problem is that young war wife Anabel Shaw who is anxiously waiting the return of a husband who was thought missing in action in the Pacific sees him through the window of her room at the hotel they're both staying at.

Shaw's got a lot of issues and she collapses and goes into Shock. It's recommended that she go to a sanitarium and husband Frank Latimore now returned takes her to a highly regarded one that is run by both Price and Bari. I don't think I have to go any further.

Shock may have been done on a dime and in a hurry, but it's well constructed and was the film that opened new vistas for Vincent Price's career. Price elicits a lot of audience sympathy being caught by mantrap Lynn Bari. As for Bari I don't think she was ever sexier or more dangerous. Stronger men than Price might have killed for her.

Definitely a must for the still strong legion of fans that Vincent Price has.