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"The Shadow on the Window" is a rather anonymous and insignificant 50s drama/thriller, but it's engaging enough for as long as it lasts, thanks to a few interesting story ideas and a decent cast. I'm sure that director William Asher envisioned making a fantastic hostage thriller with film-noir echoes, in the vein of "The Desperate Hours" that was released two years earlier, but he eventually had to settle for a modest B-movie without spectacular action footage or Humphrey Bogarts in the cast. Little 7-year-old Petey accompanies his mother to a large and remote farmhouse. It's her first working day as a secretary for a wealthy, elderly businessman, while Petey plays outside in the garden. Unfortunately enough, three ruthless young thugs decided that today they would invade the home of the old man and rob him. Just when little Petey looks through the window, he witnesses how the man is brutally killed by the assailants. Petey promptly goes into a severe state of shock, runs off into the streets and gets picked up by friendly truck drivers. While his mother is kept hostage by unprepared but extremely dangerous criminals, Petey is reunited with his father – and police detective – Tony Atlas but he remains in shock and unable to explain what is happening to her. It's definitely a good plot for a tense and forceful "race-against-the-clock" thriller, but the screenplay nevertheless suffers from a couple of defaults and clichés. I really don't understand, for example, why the hoodlums remain in the house or why one of them has to be a sensitive one. The leader of the pack, John Drew Barrymore, tries really hard to look handsome and nihilistic, and he probably dreamed of becoming the next James Dean. The little kid who portrayed Petey, on the other hand, became quite famous thanks to his role in the TV-series "Leave it to the Beaver".

I'd actually call this one a 5.5. Pete Atlas (Jerry Mathers) is playing in the yard of a house where his mother is working. He looks inside through a window and sees three young hoods fighting with the old man who lives there and sees them ultimately kill him in that fight which is part of a robbery in progress. The hoods don't know about or see the boy. Pete is traumatized by what he sees and starts wandering down the highway where he is picked up by two truckers who can see he is in shock, worry about him just walking down the middle of a busy highway, and take him to the local police department, and are then on their way.

It so happens that Pete's dad, Tony Atlas (Philip Carey) is a detective at that police department, and wonders what has happened to his son, who refuses to speak. Because Tony and his wife Linda have been separated for eight weeks, he knows that Linda has been working part time as a stenographer, but has no idea where. And the truckers that picked up the boy and could tell him the location are long gone.

Meanwhile, back at the house where the hoods robbed and killed the old man, they are pondering what to do with Linda, the witness they were not expecting to the murder they were not expecting. Jess (John Drew Barrymore) is the cold blooded one who outright says the only thing to do is kill her. The second mainly wants to save himself, and the third has a moral core and just does not want to kill but is afraid of Jess. So this is the very claustrophobic at times hard to watch part of the film where Jess is shocked! shocked I say! that Linda does not want to get romantic with somebody who sees her as a future murder victim.

Meanwhile, outside the house, the entire department - led by Pete's dad - is trying to figure out where Linda is. The police procedural part is a welcome diversion from what is going on in the house with the hoods. Barrymore sure looks the part of an amoral killer. In fact he played several of them. He just doesn't really have the acting chops for the job. Jerry Mathers doesn't get a chance to do much with this role, the same year he will leap to stardom in "Leave it to Beaver".

The standout here is Betty Garrett as the witness/hostage to the three hoods. Mainly known at that time as the comic relief in the MGM musicals of the late 40s and early 50s, she shows she can really hold her own in a drama as she tries to talk the hoods out of doing away with her, as she hopes time is on her side.

Curiosity value concerning the appearance and acting skill of Barrymore (John's son and Drew's dad) will likely draw several viewers to this minor crime drama, a sort of "Despondent Hours". Garrett, separated from her policeman hubby (Carey), takes a job steno-graphing for an elderly man with her young son in tow. When three toughs break in to rob the man, but accidentally kill him, Garrett's son (Mathers) slips into a degree of catatonia and wanders off along the highway. Eventually, Carey, Garrett's husband, is reunited with the mute boy and it's a race against time to find Garrett before the punks have their way with her or kill her. The hoods are played by Barrymore, Allen and Sarracini. Carey reacts to his estranged wife's disappearance with all the concern and terror that he might have if, say, his shirt were ironed too long and got a triangle-shaped stain on the pocket. Though impossibly big and reasonably handsome, he lets his stoicism as a police officer take too much precedence over any human emotion. Garrett (pushing forty, but playing 27 and referred to as "girl"!) does a decent enough acting job, but, in keeping with the times of the film, behaves pretty foolishly more often than not. She does try to come up with a few futile attempts at escape, though. Mathers is in over his head in his tiny part and would do much better later that year in "Leave it to Beaver" where murder wasn't a part of the storyline. Barrymore is very animated and quite handsome. He leans toward the hammy aspects of acting that so many James Dean imitators were going for at the time, but his portrayal is surprisingly polished (and this isn't exactly a strong screenplay he's dealing with!) Allen (who worked with James Dean in "Rebel Without a Cause") gives the most believable and natural performance of the hoods and is very attractive in a boy-next-door way. In fact, these two "vicious criminals" do their dirty work in pullover knit sweaters and cardigans!!! They are quite a contrast to Marlon Brando in "The Wild One". The third boy is played by hulking Sarracini and he is more authentic-looking (ironically, this actor died the year this film was made from the results of a fight!!) There are so many hilariously bad bit players in the film whose dialogue and performances are side-splitting. One lady mutters that her husband doesn't like anything as much as corned beef while he is shown romancing a blonde tart in a bar. Still, the direction is surprisingly adept and there is a memorable rooftop shootout that continues into the subway which is quite impressive. A little more enthusiasm/fret from Carey might have kicked it up a notch.

When it started out it seemed like it could be decent watching. It became tedious and boring because the three robbers/kidnappers were incredibly stupid. Made me uninterested in movie. The acting, overall, is below par. There is nothing much to recommend this movie.

Starring Jerry Mathers as the shell-shocked child who witnesses an assault on his mother, Shadow On the Window is a decent 'B' film with a solid cast and a decent script. Jerry's dad, a police officer, is played stoically by Phil Carey and mom is Betty Garrett, decent as a woman under constant threat from three stereotypical teen bad boys. One of the boys is played by Corey Allen, who revisited the role in the similarly themed Key Witness (1960), and the others are John Drew Barrymore--apparently channeling the spirit of an evil Dobie Gillis--and lovable lunk Gerald Sarracini. Beach Party director William Asher displayed his serious side here, and cinematographer Kit Carson got some nice set-ups during the climactic chase scene across roof tops and through subway tunnels. I'd love to know where this was filmed--perhaps somewhere in the Imperial Valley of California?