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IMDbPro

L'alibi era perfetto

Titolo originale: Beyond a Reasonable Doubt
  • 1956
  • T
  • 1h 20min
VALUTAZIONE IMDb
6,9/10
6292
LA TUA VALUTAZIONE
Joan Fontaine and Dana Andrews in L'alibi era perfetto (1956)
A novelist aided by his future father-in-law conspires to frame himself for the murder of a burlesque dancer as part of an effort to ban capital punishment.
Riproduci trailer2:41
1 video
31 foto
Dramma legaleFilm noirProcedurale di poliziaCrimineDramma

Aggiungi una trama nella tua linguaA novelist aided by his future father-in-law conspires to frame himself for the murder of a burlesque dancer as part of an effort to ban capital punishment.A novelist aided by his future father-in-law conspires to frame himself for the murder of a burlesque dancer as part of an effort to ban capital punishment.A novelist aided by his future father-in-law conspires to frame himself for the murder of a burlesque dancer as part of an effort to ban capital punishment.

  • Regia
    • Fritz Lang
  • Sceneggiatura
    • Douglas Morrow
  • Star
    • Dana Andrews
    • Joan Fontaine
    • Sidney Blackmer
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    6,9/10
    6292
    LA TUA VALUTAZIONE
    • Regia
      • Fritz Lang
    • Sceneggiatura
      • Douglas Morrow
    • Star
      • Dana Andrews
      • Joan Fontaine
      • Sidney Blackmer
    • 82Recensioni degli utenti
    • 40Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
    • Premi
      • 1 candidatura in totale

    Video1

    Original Theatrical Trailer
    Trailer 2:41
    Original Theatrical Trailer

    Foto30

    Visualizza poster
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    Interpreti principali74

    Modifica
    Dana Andrews
    Dana Andrews
    • Tom Garrett
    Joan Fontaine
    Joan Fontaine
    • Susan Spencer
    Sidney Blackmer
    Sidney Blackmer
    • Austin Spencer
    Arthur Franz
    Arthur Franz
    • Bob Hale
    Philip Bourneuf
    Philip Bourneuf
    • Dist. Atty. Roy Thompson
    Edward Binns
    Edward Binns
    • Lt. Kennedy
    Shepperd Strudwick
    Shepperd Strudwick
    • Jonathan Wilson
    Robin Raymond
    Robin Raymond
    • Terry Larue
    Barbara Nichols
    Barbara Nichols
    • Dolly Moore
    William F. Leicester
    • Charlie Miller
    • (as William Lester)
    Dan Seymour
    Dan Seymour
    • Greco
    Rusty Lane
    Rusty Lane
    • Judge
    Joyce Taylor
    Joyce Taylor
    • Joan Williams
    Carleton Young
    Carleton Young
    • Allan Kirk
    Trudy Wroe
    • Hatcheck Girl
    Joe Kirk
    Joe Kirk
    • Clothing Store Clerk
    Charles Evans
    Charles Evans
    • Governor
    Wendell Niles
    Wendell Niles
    • Announcer
    • Regia
      • Fritz Lang
    • Sceneggiatura
      • Douglas Morrow
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti82

    6,96.2K
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    Recensioni in evidenza

    bob the moo

    Not as taut as it should have been or as meaningful

    Tom Garrett is a writer engaged to the daughter of wealthy newspaper man Austin Spencer. Spencer is also firmly against the death penalty. With Tom looking for a subject for a second novel, Spencer suggests that they set Tom up for an unsolved murder using circumstantial evidence to prove how easy it would be for the courts to kill an innocent man. Once Tom is sentenced to the chair, Spencer will expose the failings in the system and free him. However when Spencer is killed in car crash and none of the evidence can be found then Tom faces the chair.

    A very interesting concept still needs a good delivery to make for a good film. This not only had a good idea but it was also a fair point to be made about the death penalty. The film moves along with a good build up for the whole first half. However once Tom finds himself in real trouble then the film strangely doesn't manage to deliver as much tension as it really should have done. Conversely the film becomes more of a melodrama for a while and it loses a lot of momentum. There are some nice touches at the end but they can't completely make up for the weaknesses in the middle section.

    It is quite atmospheric but not to the point that I had hoped but Lang does a good job on direction. The cast are OK. Andrews has long been one of my favourite actors from the period and he gives a solid if unspectacular show here. Fontaine is weaker and doesn't quite convince as well as Andrews but is fine. Blackmer is pretty enjoyable as Austin Spencer and Ed Binns is a familiar face as Lt. Kennedy.

    It doesn't quite work as you'd hope as the tension drops off at the exactly the moment that it needs to step up a notch. It is worth watching but it is not one of Lang's better films.
    7mls4182

    Fun glossy garbage

    ... and I highly recommend it. The implausible plot has a few large potholes and implausible events but it has a heck of an ending. It is clever enough to be entertaining while being complete and utter glossy trash. They couldn't possibly believe this film made any points against capital punishment.

    Barbara Nichols is priceless as always.
    Oct

    Too low-key to thrill

    Fritz Lang's twenty years as a Hollywood refugee, which had started so spiritedly with "Fury", gradually wound down to the grey, listless offering that is "Beyond a Reasonable Doubt". True, Lang's first and last titles have family resemblances. "Fury" concerns a man who may or may not have committed a capital crime but who deserves due process rather than lynching; "Doubt" is about a guy who frames himself to prove that the irrevocable sentence of capital punishment, legal or not, is never justifiable if the law is fallible.

    But whereas the argument of "Fury" was driven full steam ahead by a master of montage ("Metropolis") and suspenseful pacing ("M"), "Doubt" consists largely of two- or three-shots of men in suits with "display kerchiefs", arguing in paneled offices with unraised voices. The story has its due ration of twists as Dana Andrews's writer is persuaded by his prospective father-in-law, a crusading press magnate, to set himself up as a burlesque dancer's killer; the two of them will keep records of the plot that are sure to exonerate Andrews before he faces the chair. (Wouldn't he get a stiff sentence for wasting the cops' time, though?)

    But the focus shifts awkwardly from Andrews to his girl and lawyer as it unwinds, and the scenario is oddly bare of dramatic crises. For example, the press boss's death occurs off screen and his exoneration is brought in by his lawyer, not tracked down by his daughter, Andrews's fiancée. Only a few backstage scenes with the dancing girls, all peroxide and nasal cynicism, enliven proceedings. Andrews had begun to freeze into the stone faced stolidity which hampered his later career, while 39 year old Fontaine (the classic aging actress's age) is matronly in costume, maquillage and demeanor: encased in stately prissiness like other English ladies of Hollywood such as Garson and Kerr.

    Apart from Fontaine the production looks as well as feels impoverished, aesthetically like Ida Lupino's and Collier Young's problem pics but without their punch. The final twist is not signaled strongly enough to give smarter audience members a decent chance of foreseeing it. At one ludicrous moment, the publisher suggests his guests catch up on the day's highlights in Andrews's murder trial: he turns on a TV which immediately and obligingly recounts them, like George Burns's magic set on "The Burns and Allen Show". Incidentally, was covering trials and commenting on them normal for American television c. 1955?

    "Beyond a Reasonable Doubt" was a swansong not only for Lang but for RKO. It had abandoned production three years earlier after being wrecked by Howard Hughes, had sold its studio to Desi and Lucy and was now reduced to releasing outside product: in this instance from one Bert Friedlob. It really was time for Herr Lang to catch the plane back to de-Nazified Germany.
    6secondtake

    Too strained and imperfect for even Lang, Fontaine, and Andrews? Yes, sadly.

    Beyond a Reasonable Doubt (1956)

    An early wide screen black and white drama that marks the end of Fritz Lang's American career and also shows the winding down of two great stars, Joan Fontaine and Dana Andrews. The film is no send off, exactly, but it is slightly tired, as if the formula of movie-making needs a twist and it isn't here.

    That's not the point, of course. This is now the mid-fifties, crisis time for Hollywood, and with widescreen (and widescreen color) movies making a final jab at the rise of television. The plot is sensational, and not too far from what an extended early television drama might try, with mostly interior shooting and a staged (sometimes stagey) presentation. In all it's not Lang's best, and he was a master at both noir/expressionist drama and at getting to the human dilemma of fate and murder.

    Andrews and Fontaine are not a bad pair—both are matched in calm and sophistication, and beauty, even, though Fontaine seems like an accessory until the very end. Andrews rules the plot, which makes him out to be a writer desperate for a new story. So desperate he's going to pretend to commit a murder just to test the justice system.

    It's all so outrageous you want to believe it, though your mind says it just wouldn't happen. It's too convenient, and one man's suggestion from the newspaper turns out to be the other man's reality. Enough said!

    Oddly enough, this is an RKO distribution even after the studio's demise (I don't know the reasons there) but it might point to a less than perfect crew. Certainly the cinematographer, which Lang relied on greatly in earlier films, is no one with credentials. Likewise the editing and writing are fairly routine, even lackluster. And so if a movie that depends on some psychological intensity is really a bit of a grunt effort, whatever the star power involved, it's a bit doomed.

    So watch this if you are curious about any of the parts. I'm a fan of all three of the principles here, and so had to watch it. But I didn't walk away impressed.
    7blanche-2

    good drama wrapped in a B production

    "Beyond a Reasonable Doubt" is a curious film - it has the look and feel of a B movie and two stars who had seen better days - Dana Andrews and Joan Fontaine - yet it's a good script directed by Fritz Lang. A novelist (Andrews) and his future father-in-law, a newspaper magnet (Sidney Blackmer) work together to prove that the death penalty isn't justified by framing Andrews for a recent murder.

    I thought the story excellent with some exciting twists, though the whole movie has an underplayed (not to mention inexpensive) feeling to it. Fontaine seemed a little old for her role. However, she does a good job as a sophisticate, and Andrews is good as well. Barbara Nichols does a fine job in a typical supporting role for her.

    Lang returned to Germany after this film, his last in America. It's an effective plot but one wishes the man who made Metropolis and so many other fine films was given more of a budget for his swansong.

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    Trama

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    Lo sapevi?

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    • Quiz
      Final American film made by Fritz Lang before returning to Germany. It was a box-office failure.
    • Blooper
      WHile the trial is shown on TV there is a frontal shot of Tom sitting at the defendants desk. This would not be possible as the television camera was stationed behind and to the side of the desk. It's not feasible that the large 1950's era television camera would have been moved to the front of the courtroom for the shot.
    • Citazioni

      Tom Garrett: Well, could I get in touch with you?

      Dolly Moore: You've touched enough already!

    • Connessioni
      Featured in Private Property (1960)
    • Colonne sonore
      Beyond A Reasonable Doubt
      Sung by The Hi-Los (as The Hi-Lo's)

      Music by Herschel Burke Gilbert

      Lyrics by Alfred Perry

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    Dettagli

    Modifica
    • Data di uscita
      • 25 gennaio 1957 (Italia)
    • Paese di origine
      • Stati Uniti
    • Lingua
      • Inglese
    • Celebre anche come
      • Más allá de la duda
    • Luoghi delle riprese
      • Chicago, Illinois, Stati Uniti(location shooting)
    • Azienda produttrice
      • Bert E. Friedlob Productions
    • Vedi altri crediti dell’azienda su IMDbPro

    Specifiche tecniche

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    • Tempo di esecuzione
      • 1h 20min(80 min)
    • Colore
      • Black and White

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