Directed by William Asher
Screen Play by Leo Townsend & David P. Harmon
Based on a story (“Missing Witness”) by John & Ward Hawkins
Cinematography: Kit Carson
Music by George Duning
Film Editor: William A. Lyon
Cast: Phil Carey (Tony Atlas), Betty Garrett (Linda Atlas), John Barrymore, Jr. (Jess Reber), Corey Allen (Gil Ramsey), Gerald Sarracini (Joey Gomez), Jerry Mathers (Petey), Sam Gilman (Sgt. Paul Denke), Paul Picerni (Bigelow)
This tough little gem from Columbia can be found in Kit Parker’s nine-movie, three-disc Blu-Ray set Noir Archive, Volume 3 (1956-1960). These sets offer up a real wealth of riches — and I hope they keep coming.
A little boy (Jerry Mathers) sees his mother (Betty Garrett) getting roughed up by some punks as they rob and kill an old man. He wanders off, in shock, and is picked up on the side of the road by a couple of truckdrivers. Turns out he’s the son of police offer Tony Atlas (Phil Carey). With very little to go on (Mathers is able to tell them a few things), the cops race against time to find her.
Of course, we’ve seen this kind of thing before — crooks hiding in a house with a witness or two that can’t be allowed to live to rat ’em out. (There’s even an episode of Little House On The Prairie like that.) And while we’re sure the police procedural stuff will lead to the creeps before it’s all over, there are some good performances (Betty Garrett and Jerry Mathers are very good), some over-the-top menace from John Barrymore, Jr. and a great parade of 50s character actors to keep me happy — Sam Gilman, Paul Picerni, Norman Leavitt, Angela Stevens, Mel Welles and so forth. William Asher’s direction is tight and assured — a long way from his loose-as-a-goose Beach Party movies.
But what gets me about movies like this is the unshakeable craft of the crew. From the sets to the cinematography, what you see is a well-oiled machine powered by people who knew what they were doing and, despite the budget, came through every single time. Cheap studio movies from the 50s usually look very good. Kit Carson’s cinematography on this one was never going to win him an Oscar, but he creates mood where he needs to and helps conceal the pictures’s limited budget. Carson did a lot of TV and only a handful of features.
So far, this series has given us 27 features, and every one of them looks terrific (some a bit better than others, as you’d expect). The Shadow On The Window is one of the nicest of the bunch — nice 1.85 framing, superb contrast and the kind of grain that reminds you that this used to be on film. This movie’s easy to recommend — and these sets are essential stuff.