Such a frustrating disappointment

It's no definitive masterpiece but it's damn close.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

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

Ex-bomber pilot (Robert Taylor) with brain damage confesses to the murder of his wife and is committed to an asylum. Pretty blonde psychiatrist (Audrey Totter) tries to help prove his innocence. One of Robert Taylor's best roles. Audrey Totter is certainly attractive but her performance lacks depth. Compare her to Ingrid Bergman from the similar (but superior) Hitchcock classic Spellbound and you'll see the difference between an okay actress and a great one. Herbert Marshall is fine but gives his character one too many shifty glances to maintain any mystery. Nice support from H.B. Warner as a music lover at the loony bin and Vince Barnett as a blackmailer.The biggest problem with the movie is its predictability. You know from the beginning that, despite his desperate appearance and confession, Taylor is not guilty of the murder. You'll easily figure out who is guilty based on his suspicious behavior. Also the predictable romance between Taylor and Totter is obvious before they even share a scene. This was made during the glamour years of Hollywood -- there's just no way the two prettiest people in the movie aren't going to get together by the end.What it does have going for it is a dark film noir atmosphere. It is stylishly photographed with shadowy rooms, rainy streets, and dramatic close-ups. Cinematographer Paul Vogel does a great job of making a mid-level melodrama look like a top-shelf noir.

I can see why this film didn't stand the test of time because it's not that good. Here we have Robert Taylor accused of murdering his wife and sent to an asylum. Until we discover that he is innocent, we believe that Taylor is guilty because he has darkness in him. He appears unshaven at the start, and with his one-dimensional acting of limited expressions, he looks more at home as an antagonist rather than a protagonist. He does perform like a machine sometimes, and needs a good actor to play against.Funnily, in 'Ivanhoe', we were more sympathetic towards George Sanders as the antagonist rather than Taylor as the protagonist. He was saved by a good script which gave him some good dialogue. This is what is missing from this film: a good script with some crisp dialogue.

This is probably Robert Taylor's first real film noir. He is revered in some circles for work a decade later such as Nicholas Ray's "Party Girl." I think he is excellent in "High Wall." He plays a decorated war vet who is accused of murder. Not just accused of murder but also but into a psychiatric hospital. Yikes. No fun at all. Except that the hypnotherapist assigned to his case is a beautiful woman who kind of likes him.Cast in the role of the psychiatrist is one of the great staples of film noir, Audrey Totter. She is as always good. Better than good. What's intriguing here is that she is cast not as a femme fatale but as a career woman who is in every sense on the right side of the angels and the law.Herbert Marshall turns in a superbly creepy performance also. I won't say much about his role other than that this is not really a whodunit. We know the answer to that very early.It's an unusual, brave movie. It has flaws but is nevertheless very good.