La muraglia delle tenebre

After a lonely drink (in a beautiful black-and-white barroom), religious book publisher Herbert Marshall (as Willard Whitcombe) goes to his office and inquires about pretty secretary Dorothy Patrick (as Helen). He is told her husband, World War II bomber pilot Robert Taylor (as Steven Kenet), has returned to the USA from Burma. Next, we see Mr. Taylor driving his apparently dead wife off the road, toppling their car. It turns out the beautiful blonde was strangled and Taylor is suffering from post-War stress and a brain injury. Taylor has a blood clot on the brain, causing some theatrical hands-on-his-headaches. Although he doesn't recall killing his wife, Taylor confesses and is committed to a psychiatric hospital. Attractive (and single) psychiatrist Audrey Totter (as Ann Lorrison) is assigned Taylor's case. She wonders if he's aiming to get off on "temporary insanity" – or, perhaps the (handsome) widower is innocent...

As of this writing, we are in an era where many filmmakers consider the "shaky camera" technique (called "hand held camera" by insiders) a high form of cinematic art. If you're dizzy after watching one of these wobbly movies, "High Wall" is a perfect antidote...

Cinematographer Paul Vogel's eloquence camera movements begin swirling through the opening bar scene, and are marvelous throughout. Guided skillfully by director Curtis Bernhardt, the camera helps tell us about the characters, and moves the story. Producer Robert Lord's team also know when to stop, as in the extra second we are given to read the words on the door of Mr. Marshall's office. Marshall gets one of the film's highlights – watch how he handles handyman Vince Barnett (Henry Cronner) with the hook of an umbrella. Marshall is worthy of a "Best Supporting Actor" award. It's also nice to see veteran H.B. Warner as a loony mental patient. The romance is routine and ending questionable, but "High Wall" is well worth scaling.

******* High Wall (12/17/47) Curtis Bernhardt ~ Robert Taylor, Audrey Totter, Herbert Marshall, Vince Barnett

The former WWII pilot Steven Kenet (Robert Taylor) is captured by the police after driving his car off the road into a river with his deceased wife. He confesses that he killed his wife and is sent to a psychiatric hospital for medical evaluation. Kenet has a brain injury from the war that provokes amnesia and the justice department needs to know whether he may be charged of murder or not. Dr. Ann Lorrison (Audrey Totter) is assigned to treat him and offers a surgery to cure him but refused by Kenet. When Kenet is visited by the super of the apartment building where the boss of his wife lives, he insinuates that Willard I. Whitcombe (Herbert Marshall) killed his wife in his apartment. Now Kenet wants to recover his memory and accepts to be submitted to a treatment by Dr. Lorrison.

"High Wall" is a film-noir combined with melodrama and romance. The lead story is not bad, but the romance of Kenet and Lorrison has no chemistry and is hard to believe. The black-and-white cinematography is wonderful and the happy-ending is acceptable. My vote is seven.

Title (Brazil): "Muro de Trevas" ("Wall of Darkness")

This is probably Robert Taylor's first real film noir. He is revered in some circles for work a decade later such as Nicholas Ray's "Party Girl." I think he is excellent in "High Wall." He plays a decorated war vet who is accused of murder. Not just accused of murder but also but into a psychiatric hospital. Yikes. No fun at all. Except that the hypnotherapist assigned to his case is a beautiful woman who kind of likes him.

Cast in the role of the psychiatrist is one of the great staples of film noir, Audrey Totter. She is as always good. Better than good. What's intriguing here is that she is cast not as a femme fatale but as a career woman who is in every sense on the right side of the angels and the law.

Herbert Marshall turns in a superbly creepy performance also. I won't say much about his role other than that this is not really a whodunit. We know the answer to that very early.

It's an unusual, brave movie. It has flaws but is nevertheless very good.

The excellent German director Curtis Bernhardt made this powerful, brooding noir film complete with some expressionist lighting effects in the aftermath of the War. In it he expressed as well as anyone the trauma of the brain-injured returning war veterans, whose presence haunted America in the late 1940s. Robert Taylor gives a fine performance as a former colonel whose brain injury has returned, giving him headaches, partial amnesia, and violent mood swings. In this state, he returns home to find that his wife, a war bride, has become the mistress of a creepy religious publisher played to perfection with his most urbane and fastidious menace by Herbert Marshall. He falls into a rage and may or may not have strangled his straying wife. He wakes up, having collapsed, and confesses to the police. He is tormented by the death of his mother from the strain and the psychologically traumatised state of his son. He needs an emergency brain operation, and then is confined to an insane asylum for examination before being put on trial for murder. At the asylum, there is a touching portrayal of a pathetic inmate named Mr. Slocombe by H. B. Warner, the English actor who became one of Hollywood's best character actors and here surpasses himself. Into this mix comes the incomparable Audrey Totter, who added distinction to every film she was in. Here she is allowed to be a good girl rather than a bad girl. Anyone who has seen her work of two years later, 'Tension' (1949), knows she was capable of frying the audience with the passion of her acting. She plays a psychiatrist, with crisp efficient movements and a studied matter-of-factness which conceals her underlying passions. There is a wonderful uncredited cameo by Frank Jenks as a character named Pinky, who plays a character with a pivotal role in the inspired script. Will the truth be known? Can the hero be saved from someone's evil scheming? This is one of the more harrowing and nail-biting of such dramas. It is sophisticated and satisfying, and highly to be recommended. 'They don't make 'em like that any more.'

THE HIGH WALL gives Robert Taylor a chance to demonstrate that he was a very capable actor and much more than just a pretty face. Audrey Totter, as a psychiatrist who decides to help him prove he did not kill his wife, makes a strong impression opposite him. And Herbert Marshall is quietly effective as a mysterious man who knows the truth.

All of it is directed in brisk film noir fashion by Curtis Bernhardt with the accent on dark shadows and rainy streets to give it the proper noir atmosphere.

Rather than tell the plot, I'll just say that the story moves swiftly and keeps the viewer absorbed from start to finish. It's a well-paced thriller that makes use of psychiatric trends that may date the film today--but it's all done with such authority that whatever script contrivances are present don't really matter. It's intense and absorbing all the way in true film noir style. Taylor has seldom been more convincing as the distraught bomber pilot trying to find out whether he killed his wife or not.