After a lonely drink (in a beautiful black-and-white barroom), religious book publisher Herbert Marshall (as Willard Whitcombe) goes to his office and inquires about pretty secretary Dorothy Patrick (as Helen). He is told her husband, World War II bomber pilot Robert Taylor (as Steven Kenet), has returned to the USA from Burma. Next, we see Mr. Taylor driving his apparently dead wife off the road, toppling their car. It turns out the beautiful blonde was strangled and Taylor is suffering from post-War stress and a brain injury. Taylor has a blood clot on the brain, causing some theatrical hands-on-his-headaches. Although he doesn't recall killing his wife, Taylor confesses and is committed to a psychiatric hospital. Attractive (and single) psychiatrist Audrey Totter (as Ann Lorrison) is assigned Taylor's case. She wonders if he's aiming to get off on "temporary insanity" – or, perhaps the (handsome) widower is innocent...
As of this writing, we are in an era where many filmmakers consider the "shaky camera" technique (called "hand held camera" by insiders) a high form of cinematic art. If you're dizzy after watching one of these wobbly movies, "High Wall" is a perfect antidote...
Cinematographer Paul Vogel's eloquence camera movements begin swirling through the opening bar scene, and are marvelous throughout. Guided skillfully by director Curtis Bernhardt, the camera helps tell us about the characters, and moves the story. Producer Robert Lord's team also know when to stop, as in the extra second we are given to read the words on the door of Mr. Marshall's office. Marshall gets one of the film's highlights – watch how he handles handyman Vince Barnett (Henry Cronner) with the hook of an umbrella. Marshall is worthy of a "Best Supporting Actor" award. It's also nice to see veteran H.B. Warner as a loony mental patient. The romance is routine and ending questionable, but "High Wall" is well worth scaling.
******* High Wall (12/17/47) Curtis Bernhardt ~ Robert Taylor, Audrey Totter, Herbert Marshall, Vince Barnett
