Key Witness

The plot to "Key Witness" is one that is filled with many crazy coincidences...so many that you have to completely suspend disbelief in order to enjoy the movie.

Milton Higby is a pretty normal sort of guy who has lived a relatively unimportant life. One day, when his wife is away to see her aunt, he goes to the racetrack and makes a bet which earns him a small fortune. He naturally celebrates and gets pretty drunk...and a woman he barely knows lets him sleep it off in her bedroom. While he's sleeping, the woman's crazed ex-husband arrives and murders her...and vanishes. Now people think Milton is a killer...and he hit the road to avoid the police. While a hobo, he stumbles upon a body. He takes a few things off the body...after all, the dead guy's not going to need it. Almost immediately after, he steps off a curb and is hit by a car. He lands in the hospital and based on the things in his pocket belonging to the dead guy, they think he's a rich guy's long lost son. Milton tries to convince them he isn't...but after a while, he gives up and goes along with it. After all, life as Milton Higby isn't an especially good idea! What's next? See the film.

Despite being a film with a bad plot, it's STILL interesting and possibly worth seeing. In other words, you really need to suspend disbelief in order to enjoy what you're watching...and you REALLY need to suspend disbelief repeatedly. My suggestion is still watch the movie...accepting its limitations but also understanding that the story, though unbelievably farfetched, is worth seeing.

A short flick lasting 66' with a largely unknown cast, this shoestring production actually had me riveted throughout thanks to an imaginative script, sharp dialogue, an unassuming leading male character (no frills from John Beal, apart from the apparently useless gadgets he keeps inventing), his disappointed and downputting wife in a surprisingly cynical role by Barbara Read and Charles Trowbridge in a short but effective part as the father of the dead character Beal gets to impersonate.

Better cinematography than this type of C production tended to have.

I thoroughly enjoyed it!

Mechanical genius.......or just an eccentric oddball, who might attempt to cross a turkey with a banjo in the hope of producing a bird capable of plucking itself? Sullen supervisor (Harry Hayden) clearly thinks the latter of docile draughtsman, John Beal's fanciful ideas, having no time for his talking clock or innovative interactive light switch. Beal's stock falls even further, when he damages a gift bought for the company boss. Without complaint, the compliant Beal shells out for a replacement.

Domestic life paints a similar picture. Despite a loving wife (Barbara Read), his noble ambitions have fallen foul of the 'too young, too old, wrong time, wrong place' mindset. He's little more than Mr. Mop.....with his talking clock! During his wife's absence, he is initially hesitant about a day at the races (the track meeting, not the movie!), as he has promised to clean up at home. In the event, he cleans up at the track, but celebrations are short lived when he becomes the chief suspect (despite tenuous evidence) in the murder of a female acquaintance. Once again Beal turns out to be the dripping tap, rather than the water cannon, choosing to run away and exist as a hobo. Stealing the documents and adopting the identity of a dead drifter becomes a life changing experience of mammoth proportions, but will his wacky, quirky gadgets be the making or the breaking of him?

Devoid of both a big budget and a big name, 'Key Witness' succeeds by virtue of a big heart. Well acted and consistently satisfying, unconventionally bouncy, buoyant and frothy, but tempered by a pervading dark, forbidding undercurrent and an unnerving twist. An enlightened curiosity, a rare bird......a novelty noir.

John Beal is a hardworking office worker. He's supervised by petty tyrant Harry Hayden, and things are no better at home, where his wife, Barbara Read, berates him for not getting ahead. Then one day, while Miss Read is out of town, Beal's pl drags him to the horse races, where Beal hits the daily double on a couple of long shots. He tells Hayden off, and is spending some of the money on a good time when the girl he is with has her ex-husband come in and shoot her dead. Terrified by the thought of being found guilty of murder, Beal becomes a hobo for several years. Then one day he winds up in the hospital, where he is mistaken for a rich industrialist's son, who the man has not seen since he was two.

Although this might have made a nice two-reel movie, or perhaps an episode of the Alfred Hitchcock show, it goes on way too long, with Beal being an inert lump who absorbs good and bad luck like a bean bag. At a shorter length, it might have some sardonic wit. But at 67 minutes, you have time to despise every character in it.

Fortunately for Beal, he was another of those actors who didn't need the silver screen. He lived for another fifty years and prospered, on stage and big and little screens, dying in 1997 at the age of 87.

So this lead character is a nice enough guy, pleasant, hard worker, faithful and loving husband, and creative. While at the same time he is also a scared, ineffectual dolt of a guy. The bad decisions that he repeatedly makes throughout this film is only surpassed by the absurdity of unlikely events that follow those poor decisions. It really takes a suspension of logic and believability to stay committed and fully onboard as the story progresses. That's too bad though because like I said it does have any easy, pleasant quality to it, and most of the performances are solid enough to hold the viewer's interest. It's just the unlikeliness of the chain of events to this story that honestly can make it frustrating at times.