A Testemunha Chave

KEY WITNESS, based on Frank Kane's novel of the same name, is sort of the successor to MGM's 1955 BLACKBOARD JUNGLE, but with more acting flourishes (mostly by the supporting cast) and realistic settings. By 1960, delinquency and gang violence were recognized as an unpleasant reality outside of "old" urban centers such as New York -- but also not always (or often) involving such well-scrubbed suburbanites as those depicted in REBEL WITHOUT A CAUSE. Though its script stumbles in some notable places (a few involving basic logic -- except that this was a new world for many of the people who would have been watching in 1960), KEY WITNESS is a good depiction of the law abiding running up against the sociopathic lawless, with horrendous consequences for all concerned. The movie also plays, in somewhat naive fashion, on a racial angle in its plot and characterizations -- this is an odd touch, considering that the entire gang in Kane's book, if memory serves, was African-American. (Additionally, the book is more violent and also a lot more raunchy in terms of the Ruby character, who alludes to the idea of explaining her assault on the witness's wife because of a (rejected) lesbian overture in a courthouse ladies' room). The movie ends a little too squeaky clean and optimistically, not that differently from THE BLACKBOARD JUNGLE, but is more harrowing along the way. Along with releases such as THE SUBTERRANEANS, which was done around the same time, it was all a really interesting venture by MGM into territory far from its roots in high art and Americana, and an admission that the 1940s were long-gone. And anyone who likes the movie should check out the novel.

Key Witness verges on the point of hysteria, and lacks credibility throughout, but it's still a riveting drama, directed by Phil Karlson in typically tough fashion.

Most of the performances are over-the-top, but as the witness to a gang stabbing, Jeffrey Hunter gives a standout performance. Without overacting, he brings plenty of energy and intensively to his role, playing an Everyman driven to the breaking point by the mob terrorizing him and his family. Next to Brainstorm (1965), this is his best work.

Although the film may infuriate you with its pat ending, you shouldn't be bored for an instant.

I really enjoyed this film. However, I enjoy all films of this particular genre. Black and whites film from the late 1950's/early 1960's. Plenty of hip looking individuals with snappy lingo. The detectives wear hats and the punks are bad news. It reminds me of "Blackboard Jungle" or some Stanley Kramer film.The story is about doing the right thing, even when the wrong thing is much easier to do. Moreover, you get to see a young Dennis Hopper do his early version of Frank Booth from "Blue Velvet." Good stuff in a retro kind of way.

Very rarely shown, I was fortunate to have seen it at its release.

Several dozen onlookers witness a daring gang murder, but only LA businessman Fred Morrow agrees to testify. His family is tormented by the youthful thugs, the police being unable to protect them from the gang's attacks and ever increasing violence. Will Morrow hang tough and perform his civic duty or will he recognize his mistake and develop amnesia, thereby allowing one of B-movie Hollywood's most brazen killers to go free? The theme music ("Ruby Duby Du"), written by Charles Wolcott, is absolutely haunting, and is far and away my favorite instrumental.

Jeffrey Hunter, Dennis Hopper, Pat Crowley, Johnny Nash and Susan Harrison make for a top-notch cast.

Four years after its release I met a person who likewise considered "Key Witness" his favorite movie. Forty-two years later we remain best friends.

While it's true that the plot is frequently hampered by preposterous turns, this emerges as a genuinely harrowing thriller, largely owing to Jeffrey Hunter's conviction in the title role, as well as comely Patricia Crowley's interpretation as his panicked suburban wife.

It is to director Karlson's credit that he can take the improbable and still draw one in, such as the scene where Mr. Hunter's young son is shot by one of the thug's on the school playground--and one goes quite limp with horror.

And for all those doubting the veracity of witness retribution--try reading the daily newspapers.

However, Cinemasope is inappropriate for such an intimate story, and the cinematographer here is usually incapable of effectively composing for such a wide frame.

Look for Ted Knight in a bit as Dennis Hopper's defense attorney.