Why won’t anybody listen to Barbara Stanwyck?! Witness to Murder had the unfortunate timing of being released shortly before Rear Window. Both films share a similar paranoid peeping tom premise, but Witness to Murder lacks Hitchcock’s polish. The film received positive reviews, particularly for John Alton’s camerawork, but Rear Window completely overshadowed it in the long run. There’s plenty to enjoy here though, including a devilishly wicked performance by George Sanders as a refined sadist.
WHERE THE SIDEWALK ENDS (1950)
Y’know a movie is going to be hard when it starts with trash floating down a gutter. Ottto Preminger’s Where the Sidewalk Ends has a solid premise – a detective investigating a murder he committed – and one tough as nails leading man, Dana Andrews, best known as the droll cop in Preminger’s Laura. The film addresses typical noir themes such as doomed fate and punishment, all presented in Preminger’s clear-cut style. No frills or excessive visual flair, no social commentary, just a rugged, violent thriller of the streets.