Ti ho visto uccidere

In addition to its solid performances, tight storytelling and John Alton's superior cinematography, what makes "Witness to Murder" particularly powerful today is the movie's pre-feminist view of its leading character's dilemma. "But I saw the murder, I SAW the murder," the Stanwyck character insists. Yet no one believes her because 1) she's a woman; 2) she's unmarried; 3) she's menopausal. Nobody even blinks an eye when she's dumped in a mental hospital, which gets viewers really riled because they share her point of view. The audience sees the murder along with Stanwyck and can feel her humiliation, anger and frustration. That's why the movie works.

I have been a fan of Stanwycks since I was a child (now 55 yrs)..saw and thought I knew most of her films from mid 30's- on to the TV years. Somehow, Witness To Murder escaped me, until I saw it listed to be shown on TCM (thank you Ted), this weekend 11/23, I believe... I set my vcr, and was not disappointed, what an outstanding film noir this is.. yet no one ever mentions or discusses this one !!!Stanwyck is just as good as she was in Sorry Wrong Number, maybe more controlled... Plot is similar to Hitcocks Rear Window, but it has many more twists and turns. Supporting cast is great, including 2 All About Eve alumni.. George Sanders, playing a sadistic Nazi (yes) murderer his best work since Eve, and Gary Merrill, portraying a police detective...You can see future star and Oscar nominee, Juanita Moore, (Imitation of Life '58) in an assylum scene, very effective, and Jesse White, as Merrills partner giving some comic relief... Wow, couldnt stop watching... Great to see this ignored film from mid 1950's. Is it on tape ?? Aside #1: Gary Merrill was married to Bette Davis at the time... She and Stanwyck did not get along...I would have loved to be a fly on the wall when Gary came home from work... during the filming of Witness.

Aside# 2: Stanwyck was the most prolific actress in Hollywood history!! She just kept turning them out. I remember my parents taking us to our local theatre, Regent, in Newark, NJ.. and every other week so it seemed was a Stanwyck movie... We had just seen her in Titanic, and soon she would be in Executive Suite.... what a pro, what a career, what an actress... she was such a family favorite that my older sister was named after her, Barbara......

The John Alton photography is layered thick and shadowy in this late Film-Noir entry. Almost every scene is back lit with diagonals and impressions draping the proceedings and it is this atmospheric artistic display that highlights this often filmed story.

The characters and conventions of the Noir cycle by this time have become familiar but the shear broad strokes of the style are undeniably effective. The odd take on the villain being of Nazi descent with delusions of grandeur while meant to be of a deep personality flaw, is obtrusive and distracts from believability. It is an unwanted and unneeded take on the psychological persona of the killer.

The mental hospital scene is a standout as is the finale through the construction site. The only drag is the relentless unbelieving of the authorities that wears out its welcome fast but in the long view does not hold the film back from its better parts.

Perhaps Barbara Stanwyck was looking to score another Oscar with Witness To Murder. Her fourth and final nomination was with Sorry Wrong Number. In that film she overhears a murder plot.

In this one she sees neighbor George Sanders commit a strangulation on some woman. But the police show up and no body and no signs of struggle. Still Stanwyck persists and detectives Gary Merrill and Jesse White do their best..

We learn too early that Sanders did the deed which robs us of suspense. Still Sanders is at his caddiest and that's always a treat.

The best scenes are Stanwyck in a mental ward and she's in with a lot of those you would have seen in the Snake Pit. Wonderful scene allowing all the players including Stanwyck to overact and stay in character.

Timing is everything and Witness To Murder was released first so it was no copycat. But Alfred Hitchcock's Rear Window with the same premise and all those Hitch touches came out far superior and this film was forgotten.

Stanwyck and the cast do a good job though and Witness To Murder should not be forgotten.

This is a great example of "film noir," as every scene has some sort of shadow pattern on the wall, the floor, the faces. All shots are done with key light on the faces. The patterns suggest "jail," "locked up," "flight" (as in a train track), "trapped," (as in a cobweb), and others. There isn't one scene that doesn't have a shadow in it! Even the day time sequences. And the actors that had great careers: Stanwyck, Gary Merrill, Claude Akins, even Jesse (the original maytag repairman) White, and, of course, George Sanders, who plays a "deNazified" ex-Nazi. Whew! Great stuff.