| The Sniper | |
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Theatrical poster |
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| Directed by | Edward Dmytryk |
| Produced by | Stanley Kramer |
| Written by | Story: Edna Anhalt Edward Anhalt Screenplay: Harry Brown |
| Starring | Adolphe Menjou Arthur Franz Gerald Mohr |
| Music by | George Antheil |
| Cinematography | Burnett Guffey |
| Editing by | Aaron Stell |
| Distributed by | Columbia Pictures |
| Release date(s) | May 9, 1952 (U.S.A.) |
| Running time | 87 minutes |
| Country | United States |
| Language | English |
The Sniper (1952) is a black-and-white film noir, directed by Edward Dmytryk, written by Harry Brown, and based on a story by Edna Anhalt and Edward Anhalt. The film features Adolphe Menjou, Arthur Franz, Gerald Mohr, Marie Windsor, among others.[1]
The film marks Dmytryk's return from the Hollywood blacklist to directing from political exile in England and a jail term in the U.S. He was "required to direct Adolphe Menjou, one of the most virulent Red-baiters of the HUAC hearings."[2]
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A San Francisco delivery man, Eddie Miller, struggles with his hatred of women. He's especially bothered by seeing women with their lovers. Miller knows he's sick, and out of despair, he self-inflicts burns on his right hand by holding it over a stove. The doctor treating the wound in an emergency room suspects he might need psychological help, but then gets too busy to follow through.
Miller begins a killing spree as a sniper by shooting women from far distances. In an attempt to get caught, he writes an anonymous letter to the police begging them to stop him. As the killings continue, a psychologist has the keys (early criminal profiling techniques) to finding the killer. The film is unusual in that its ending is completely non-violent, despite its genre and expectations raised throughout.
British Channel 4's wrote in their review, "A little dated now, especially the nervous documentary-style camera work which soon outstays its welcome, The Sniper's thriller mechanics nevertheless work efficiently, while Franz's psycho is uncannily convincing."[3]
Critic Bosley Crowther gave the drama a mixed review, and wrote, "Therefore, The Sniper develops, as it casually gets along, into nothing more forceful or impressive than a moderately fascinating "chase." The kick-off murder of a sultry saloon singer, whom Marie Windsor plays, is ticklishly enacted, and the dragnet thrown out by the police, headed by a clean-shaved Adolphe Menjou, is interesting to observe. Frank Faylen, Gerald Mohr and Richard Kiley also contribute to the pace as assorted police factotums, and the real San Francisco building and streets used for locales of the picture give it authority. But the menace and understanding of the sex fiend hopefully implied in the foreword to the picture are never clearly revealed."[4]
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