Your Witness

Robert Montgomery, by 1950 better known as an actor than as a director, takes on both duties in EYE WITNESS (or YOUR WITNESS, in the US movie circuit) - and I have to say that he does remarkably well.

To that end, he is ably assisted by the UK postwar-evocative cinematography of Gerald Gibbs, and screenplay by Hugo Butler and Ian Hunter, telling of US Major and lawyer Adam Heyward flying to the UK to save from the gallows a UK Army sergeant who had saved his life behind German lines during World War II.

Of course, upon arrival in the UK he finds that the English spoken there is different (some chuckles at the interpretation of words and expressions), that lawyers and judges dress and address colleagues and the public rather more formally than in Uncle Sam, and he meets a host of British characters played by supporting thespians of the highest grade, including Michael Ripper as the wrongly accused friend Heyward does his utmost to rescue from the noose, Felix Aylmer as judge, James Hayter as trial witness, Stanley Baker as a copper, Leslie Banks as Colonel Summerfield, pretty Shelagh Fraser as Ellen Foster, and many others in a supporting cast bristling with talent and sobriety to give the film an authentic British background.

Montgomery delivers a quietly effective performance, bemused at times, serious at other times, always with an eye on stunningly beautiful Patricia Wayne.

Though perhaps 10-15 minutes longer than it needed to be, dialogue is interesting throughout, B&W photography highly accomplished, especially the bucolic setting, which the extremely pleasant score by Malcolm Arnold only enhances.

After showing courage in directing and acting in LADY IN THE LAKE four years ealier, in which he appeared only in reflections in the mirror, Montgomery comes full circle as a talented director in this his final film, before turning to TV work.

Certainly worth watching.

This thriller moves at a snail's pace towards its very predictable conclusion.The first half of the film dwells on differences between American and British court procedures.This film was not only the swan song Of Robert Montgomery but also Leslie Banks.There is a brief glimpse of Stanley Baker at the early stages of his career.It is difficult though to realise that the Robert Montgomery who directed this film is the same one who directed the impressive Lady In the Lake.The fact that this was his last film wad probably more to do with the fact that he had bigger fish to fry.In any event at his age he was unlikely to attract many leading roles.Produced by Hitchcock colleague Joan Harrison.

In his final film Robert Montgomery's boredom is only too apparent in this uninvolving courtroom drama that however boasts a cast that manages to include both Leslie Banks and Stanley Baker.

It bears a striking resemblance to the similarly titled 'Hostile Witness' (also directed by and starring a visitor from Hollywood, on that occasion Ray Milland), even down to the judge being played by Felix Aylmer; the later film's most obvious concession to the passage of time being that that was in colour.

I adore Robert Montgomery. He was a totally classy guy without being self-consciously so.

Here he plays a tough NYC attorney who is urged by his secretary to not just send money to the man who saved his life in the war but to cross the Atlantic to assist in his defense.

Montgomery directed and while there's a blessed minimum of cutesy quaintness added in the English village setting, it has a consistently British "literacy" bordering on wordiness, perhaps not out of place in courtroom scenes. It's all very low key and well done. Robert Montgomery had not lost any of his style since his early days and is still wry and bemused in one of his final acting roles.

I'm frequently amazed by the low scores, and detrimental reviews about older films on here.

Some films have you gripping the seat of your chair, others have plenty of whooping and hollering - this was comfortable armchair viewing, where you could almost smell the hay, the stables, and the flowers in the village church.

This might have a somewhat predictable storyline, but the softened focus and beautiful locations further enhance the performance by an excellent cast of recognisable characters.

The transition from bustling streets in the States, contrasts beautifully with the tinkling of bicycle bells in a quintessential English village, as the lead character enters the local inn - run by Mr Memory, from The 39 Steps.

The livery stables are as I remember some from the 1950s, with overhanging ivy, and leaning gates - in fact the portrayal of a post war village is perfectly played.

Having a somewhat predictable plot provides a suitable vehicle for an experienced and talented cast, to display their talents and ability to a greater effect - giving impeccable and almost imperceptible nuances to their characters and portrayals.

There was ample time for the enjoyment of these performances, whilst still absorbing the plot line, the anticipated conclusion in the courtroom, and the final scenes around the magnificent house and garden.