| Shadow on the Wall | |
|---|---|
Theatrical release poster |
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| Directed by | Pat Jackson |
| Produced by | Robert Sisk |
| Screenplay by | William Ludwig |
| Story by | Lawrence P. Bachmann Hannah Lees |
| Starring | Ann Sothern Zachary Scott Gigi Perreau Nancy Davis |
| Music by | André Previn |
| Cinematography | Ray June |
| Editing by | Cotton Warburton |
| Distributed by | Metro-Goldwyn-Mayer |
| Release date(s) | May 19, 1950 |
| Running time | 84 minutes |
| Country | United States |
| Language | English |
Shadow on the Wall is a 1950 psychological thriller film starring Ann Sothern, Zachary Scott, Gigi Perreau and Nancy Davis. It is based on the novel Death in the Doll's House by Lawrence P. Bachmann and Hannah Lees.[1]
Contents |
Child Susan Starrling (Gigi Perreau) is the sole witness to a killing, but the shock causes her to suffer amnesia about the event. Her father David (Zachary Scott) is convicted of first degree murder of his wife. However, psychiatrist Caroline Cranford (Nancy Davis) is convinced she can cure the young girl and begins to suspect that another person is guilty.
When first released The New York Times praised the acting, writing, "Nancy Davis is beautiful and convincing as the serious psychiatrist who uses affection and play therapy to delve into the youngster's mind for the evidence needed for both a cure and the eventual exposure of the criminal. Gigi Perreau is excellent as the mentally tortured moppet, and Zachary Scott does a realistic job as her architect father and wrongly convicted murderer. Kristine Miller is competent in the brief role of the victim, but Ann Sothern, who turns in a polished portrayal, seems out of character as the worried villainess of the piece. List Shadow on the Wall as obvious but interesting fare."[2]
Film critic Dennis Schwartz liked the film and wrote, "A taut suspense yarn in B&W, that plays like film noir...This villain role is out of character for the always sweet Ann Sothern, but she shows great agility in handling the difficult role. The melodramatic script was often not believable and the action part of the story looked like pretend acting, just like the therapy Nancy Davis was applying to Gigi. But the stars pulled this one together and made the tense story, revolving around the little girl, seem plausible. Gigi Perreau was marvelous, giving a convincing performance as a little girl who could be both adorable and then almost frightened out of her mind."[3]