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La muraglia delle tenebre

Titolo originale: High Wall
  • 1947
  • Approved
  • 1h 39min
VALUTAZIONE IMDb
6,9/10
2288
LA TUA VALUTAZIONE
La muraglia delle tenebre (1947)
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Film NoirCrimeDrama

Aggiungi una trama nella tua linguaAfter a brain-damaged war veteran confesses to murdering his wife and is sent to a psychiatric hospital, a sympathetic doctor tries to lead him to recover his memory of events as he begins t... Leggi tuttoAfter a brain-damaged war veteran confesses to murdering his wife and is sent to a psychiatric hospital, a sympathetic doctor tries to lead him to recover his memory of events as he begins to question his guilt.After a brain-damaged war veteran confesses to murdering his wife and is sent to a psychiatric hospital, a sympathetic doctor tries to lead him to recover his memory of events as he begins to question his guilt.

  • Regia
    • Curtis Bernhardt
  • Sceneggiatura
    • Sydney Boehm
    • Lester Cole
    • Alan R. Clark
  • Star
    • Robert Taylor
    • Audrey Totter
    • Herbert Marshall
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    6,9/10
    2288
    LA TUA VALUTAZIONE
    • Regia
      • Curtis Bernhardt
    • Sceneggiatura
      • Sydney Boehm
      • Lester Cole
      • Alan R. Clark
    • Star
      • Robert Taylor
      • Audrey Totter
      • Herbert Marshall
    • 48Recensioni degli utenti
    • 12Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
    • Premi
      • 2 vittorie totali

    Video1

    Trailer
    Trailer 2:21
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    Foto56

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    Interpreti principali76

    Modifica
    Robert Taylor
    Robert Taylor
    • Steven Kenet
    Audrey Totter
    Audrey Totter
    • Dr. Ann Lorrison
    Herbert Marshall
    Herbert Marshall
    • Willard I. Whitcombe
    Dorothy Patrick
    Dorothy Patrick
    • Helen Kenet
    H.B. Warner
    H.B. Warner
    • Mr. Slocum
    Warner Anderson
    Warner Anderson
    • Dr. George Poward
    Moroni Olsen
    Moroni Olsen
    • Dr. Philip Dunlap
    John Ridgely
    John Ridgely
    • David Wallace
    • (as John Ridgeley)
    Morris Ankrum
    Morris Ankrum
    • Dr. Stanley Griffin
    Elisabeth Risdon
    Elisabeth Risdon
    • Mrs. Kenet
    Vince Barnett
    Vince Barnett
    • Henry Cronner
    Jonathan Hale
    Jonathan Hale
    • Emory Garrison
    Charles Arnt
    Charles Arnt
    • Sidney X. Hackle
    Ray Mayer
    • Tom Delaney
    Robert Hyatt
    Robert Hyatt
    • Richard Kenet
    • (as Bobby Hyatt)
    Erville Alderson
    Erville Alderson
    • Patient Awaiting Discharge Hearing
    • (non citato nei titoli originali)
    Jean Andren
    • Nurse
    • (non citato nei titoli originali)
    Russell Arms
    Russell Arms
    • Patient Awaiting Discharge Hearing
    • (non citato nei titoli originali)
    • Regia
      • Curtis Bernhardt
    • Sceneggiatura
      • Sydney Boehm
      • Lester Cole
      • Alan R. Clark
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti48

    6,92.2K
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    Recensioni in evidenza

    8JuguAbraham

    Superior cinema compared to Hollywood products of the decade

    I am surprised that this film was never given its due credit for its strengths while its weaknesses have been highlighted.

    It is obvious to a casual viewer that the performance of Robert Taylor is superior to most of his other films that exploited his physical attributes more than his innate talent. Taylor would have been a good material for intelligent directors but unfortunately few worked with him. Director Curtis Bernhardt, with European experience behind him, utilized the range of emotions that he could extract from Taylor and the usually "wooden" Taylor emerges as an intelligent, purposeful individual.

    The obvious weaknesses is the science of psychotherapy, brain surgery and truth serums that are presented in the film, which we now know are antiquated and incorrect. Bernhardt has been criticized for his apathetic depiction of mental asylums in the film. All of this is correct but what would you do in the Forties if that is what you knew of the subject at that time.

    Director Bernhardt to me is the person to be most admired in this movie, not actor Taylor. Take the sequence of the visit of the asylum staff to the house of the mother of the lead male character. You see the milk bottles and the newspapers outside the door. You have no response to the doorbell. Then you see a child peeking from behind the curtains and meekly opening the door. No word is spoken. The dead mothers feet are shown to us. Cut to another sequence. That is great cinema--good understanding of psychology, and deliberate underplaying of emotions by merely using visuals and editing the shots without resorting to emotional dialog.

    The second most interesting facet of the film is the script. The rain used in the film (couldn't have been from the original play) adds so much to the atmosphere of the film. The sequences in the restaurants and bars, however short, are highlights of the strong script.

    The editing, antiquated as it looks nearly 60 years after the film was made, is noteworthy for its crispness and relevance. The camera-work, exploiting shadows on frosted glasses and dark alleys, is equally remarkable.

    Curtis Bernhardt could have been proud of this work despite its weakness for researching the subject inadequately. Handsome Taylor can be credited with a handful of good performances and strangely all of those performances had him playing anti-heroes. This is is one of those few.
    7hitchcockthelegend

    Murders and Medicinal Mania.

    High Wall is directed by Curtis Bernhardt and adapted to screenplay by Sydney Boehm and Lester Cole from the play by Alan R. Clark and Bradbury Foote. It stars Robert Taylor, Audrey Totter, Herbert Marshall, Dorothy Patrick and H.B. Warner. Music is by Bronislau Kaper and cinematography by Paul Vogel.

    Suffering from a brain injury sustained during the war, Steven Kenet (Taylor) is further rocked by the realisation that he may have strangled his wife during one of his blackout episodes. Committed to a county asylum, Steven responds to treatment by Dr. Ann Lorrison (Totter) and comes to believe he just might be innocent of his wife's murder. But can he convince the authorities? Can he in fact get out of the asylum to find proof?

    By 1947 film noir had firmly encompassed the plot strand involving returning veterans from the war. Plot would find them struggling to readjust into society, they would be battle scarred, emotionally torn or suffering some form of injury, such as a popular favourite of film makers of the time, the amnesia sufferer. High Wall is one of the better pictures from the original film noir cycle to deal with this premise. Where except for a daft method used to bring the story to its conclusion, it's a well thought out and intelligent picture.

    The pairing of Taylor and Totter is one of the film's strengths, they are helped no end by having parts that requires them to veer away from roles that they were accustomed to. Bernhardt and Vogel dress the picture up superbly, the camera glides eerily around the asylum, throwing impressive shadows across the drama, and the camera technique used for Kenet's flashback sequences proves mood magnificent. Out of the asylum the visuals still remain beautiful whilst still exuding a bleakness befitting the unfolding story, with rain drenched streets the order of the night. While Kaper drifts a suitably haunting musical score across proceedings.

    It's unhurried and cares about attention to details, and even though some of the ethics involved in story are dubious, this is a smart entry in the psychological film noir canon. 7.5/10
    7claudio_carvalho

    Melodramatic Film-Noir

    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")
    Doylenf

    Much more than an overrated 'B' movie...

    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.
    7wes-connors

    Climbing the Walls

    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

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    Trama

    Modifica

    Lo sapevi?

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    • Quiz
      Both Audrey Totter and Robert Taylor relished making this film - Totter, because she got to play a professional woman as she did in Una donna nel lago (1946), and Taylor, because he got to act and not just be a "pretty boy".
    • Blooper
      (at around 9 mins) A group of doctors is looking at Kenet's skull X-rays. The X-rays are hung behind the illuminated frosted glass panels, so viewers can see the X-rays, but the doctors could not. And the X-ray as the viewer sees it is oriented correctly to show a left-side hematoma, but to the doctors, the X-ray is reversed, meaning the hematoma would be on the right.
    • Citazioni

      Steven Kenet: All this is confidential between doctor and patient isn't it? You're in a hurry to get in and report this aren't you? Well I can't stop you but just remember, you're the one who sold me on the idea of surgery, of fighting for an acquittal. Why did you bother?

    • Connessioni
      Featured in Noir Alley: High Wall (2017)
    • Colonne sonore
      Nocturne Op. 9, No. 2
      (uncredited)

      Composed by Frédéric Chopin

      [The piano piece Slocum plays on the phonograph for Steve when they first meet at dinner]

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    Dettagli

    Modifica
    • Data di uscita
      • 17 dicembre 1947 (Stati Uniti)
    • Paese di origine
      • Stati Uniti
    • Lingua
      • Inglese
    • Celebre anche come
      • Muro de tinieblas
    • Luoghi delle riprese
      • Metro-Goldwyn-Mayer Studios - 10202 W. Washington Blvd., Culver City, California, Stati Uniti(Studio)
    • Azienda produttrice
      • Loew's
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

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    • Budget
      • 1.844.000 USD (previsto)
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

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    • Tempo di esecuzione
      1 ora 39 minuti
    • Colore
      • Black and White
    • Proporzioni
      • 1.37 : 1

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