Cornell Woolrich Movies

This remake of Alfred Hitchcock's classic tale of suspense stars Christopher Reeve as a wheelchair-bound shut-in with a proclivity for watching the world through binoculars and making up stories about the lives of the people he observes. Trouble comes when he fabricates a murder that just may have actually occurred. ~ Sandra Brennan, All Movie Guide

A made-for-TV effort from horror director Tobe Hooper (The Texas Chainsaw Massacre), this supernatural thriller is ostensibly based on the novella of the same name by Cornell Woolrich -- but the title is pretty much where the similarity ends. The plot involves a possessed Aztec ceremonial cloak (once used to line a sacred burial chamber) which poisons the soul of anyone who wears it. An improbable string of events sees the cloak turned into a little slip of a dress -- donned by several different women, but worn to evil perfection by Madchen Amick (Twin Peaks's Shelly). I'm Dangerous Tonight features colorful supporting performances from Anthony Perkins and R. Lee Ermey. ~ Cavett Binion, All Movie Guide

A young woman is abandoned by her lover after she tells him she is pregnant. Deeply depressed and longing for home, she boards a train out of town. Unfortunately a terrible train wreck ensues. She survives and ends up taking on the identity of one of the dead passengers. Now comfortable and secure that her child will have some claim to legitimacy, the woman is happy. Unfortunately, her dead-beat lover shows up and promises to make trouble if she doesn't pay up. The melodramatic plot is based on a story by Cornell Woolrich and was made twice before as No Man of Her Own (1932 and 1949 respectively). In 1996 it was remade again as the romantic comedy Mrs. Winterbourne starring Riki Lake and Shirley MacLaine. ~ Sandra Brennan, All Movie Guide

A rare mid-career flop for director François Truffaut when it was released, Mississippi Mermaid has become a cult favorite, thanks in part to the availability of the original French version, which added 13 minutes to the U.S. release running time. Adapted from a story by William Irish, it's a noirish tale of a man who orders a mail-order bride but receives instead a con woman. Louis Mahe (Jean-Paul Belmondo) owns a tobacco factory on the remote Indian Ocean island of Reunion. His bride, Julie Roussel (Catherine Deneuve), looks nothing like the photo she sent him, but she explains that she had forwarded a picture of a friend instead. After Louis allows Julie access to both his personal and company bank accounts, she disappears with most of his fortune. Heartbroken and bitter, he takes a holiday in the south of France and improbably spots "Julie" on a TV news story. When he tracks her down, she reveals her real name, Marion, and how she and her con-man boyfriend, Richard, had intercepted the real Julie on the boat Mississippi that was headed for Reunion. Richard threw Julie off the ship and Marion assumed her identity, but once the two thieves returned to France, Richard made off with the money. Marion professes that she fell in love with Louis, and he believes her. They try to make a life together in France, but a private detective whom Louis and Julie's sister, Berthe, had hired to find Marion, tracks them down to a house they have rented in Aix en Provence, forcing them to go on the run. ~ Tom Wiener, All Movie Guide

After suffering a blow on the head, Phil Townsend (Richard Basehart) awakens to discover that he has long been suffering from amnesia. Realizing that he's slated to be married, Phil rushes to the house of his fiancée, only to discover that he is three years late. Soon afterward, he finds out that he has spent those three years living under the name of David Webber -- and as it happens, "David Webber" is suspected of murdering the wife of his ex-employer. This episode is based on a novel by Cornell Woolrich, previously filmed in 1942 as Street of Chance (with Burgess Meredith as the amnesiac protagonist) and thereafter adapted several times for the radio anthology Suspense. ~ Hal Erickson, All Movie Guide

Cornell Woolrich, whose written works have served as the basis for many an Alfred Hitchcock production, was the author of this Playhouse 90 drama. After arranging to meet his fiancee at a busy downtown street corner, a young man arrives at the appointed destination--only to find that the girl is dead. It is the first of several mysterious, unmotivated and apparently unrelated murders in the same metropolis. Can it be that a maniacal serial killer is on the loose--or, perhaps, have the victims been killed by persons whom they already knew? Directed by John Frankenheimer and boasting an all-star cast, "Rendezvous in Black" was originally telecast live from Hollywood. ~ Hal Erickson, All Movie Guide

When he takes a voluntary pay cut to help out his financially strapped boss, Dick Paine (Skip Homeier) must face the wrath of his nagging wife Beth (played by no less than Joanne Woodward). Demanding that Dick stand up for his rights, Beth tells him to go back to the office and confront his pinchpenny boss. Alas, Dick returns empty-handed, leading to a tragic denouement. This final episode of Alfred Hitchcock Presents' first season was previously heard on the radio anthology Suspense under the title "Too Little to Live On," starring Ozzie and Harriet Nelson. ~ Hal Erickson, All Movie Guide

Laid up with a broken leg, photojournalist L.B. Jeffries (James Stewart) is confined to his tiny, sweltering courtyard apartment. To pass the time between visits from his nurse (Thelma Ritter) and his fashion model girlfriend Lisa (Grace Kelly), the binocular-wielding Jeffries stares through the rear window of his apartment at the goings-on in the other apartments around his courtyard. As he watches his neighbors, he assigns them such roles and character names as "Miss Torso" (Georgine Darcy), a professional dancer with a healthy social life or "Miss Lonelyhearts" (Judith Evelyn), a middle-aged woman who entertains nonexistent gentlemen callers. Of particular interest is seemingly mild-mannered travelling salesman Lars Thorwald (Raymond Burr), who is saddled with a nagging, invalid wife. One afternoon, Thorwald pulls down his window shade, and his wife's incessant bray comes to a sudden halt. Out of boredom, Jeffries casually concocts a scenario in which Thorwald has murdered his wife and disposed of the body in gruesome fashion. Trouble is, Jeffries' musings just might happen to be the truth. One of Alfred Hitchcock's very best efforts, Rear Window is a crackling suspense film that also ranks with Michael Powell's Peeping Tom (1960) as one of the movies' most trenchant dissections of voyeurism. As in most Hitchcock films, the protagonist is a seemingly ordinary man who gets himself in trouble for his secret desires. ~ Hal Erickson, All Movie Guide

The French/Italian Obsession was based on a novel by American suspense writer William Irish (aka Cornell Woolrich). Michelle Morgan and Raf Vallone are carnival performers, touring the provinces with a successful trapeze act. Though Morgan knows that Vallone is on the lam from a murder charge, she marries him anyway. When Vallone is sidelined by an injury, he is replaced by handsome young aerialist Jean Gaven, an unsuspecting friend of the man Vallone killed. Gaven is himself bumped off before long, prompting the disillusioned Morgan to turn over Vallone to the authorities. As it turns out, we're in Postman Always Rings Twice territory: Vallone didn't kill Gaven, but by the time the guilty party confesses, the police have confirmed that Vallone was responsible for the earlier murder. ~ Hal Erickson, All Movie Guide

Widely regarded as a "model" B-movie thriller, The Window stars Bobby Driscoll as a young boy prone to fibs. Thus, no one believes him when he claims to have seen a murder in a neighboring apartment. No one, that is, except the killers (Paul Stewart and Ruth Roman). Realizing he won't get any help from his parents (Barbara Hale and Arthur Kennedy) or the law, the boy must figure out a way to save himself from being shut up permanently by the murderers. The film's hair-rising and oft-imitated climax, which takes place in a rotting abandoned tenement, has lost none of its edge over the past five decades. A much-needed hit for financially strapped RKO Radio Pictures, The Window was remade in 1960 as The Boy Cried Murder. ~ Hal Erickson, All Movie Guide

A man who dreams of seeing the future discovers the horrible burden that it can carry in this film noir suspense story. Suicidal Jean Courtland (Gail Russell) is prevented from killing herself by her fiancée Elliot Carson (John Lund). When they consult psychic John Triton (Edward G. Robinson), he confesses that he used his powers to bring on her death. Years ago, Triton was a phony mentalist in a vaudeville act, but he began seeing genuine visions of the future, most of which portended tragic results. After a premonition of the death of his wife Jenny (Virginia Bruce) in childbirth, a terrified Triton went into hiding for five years; upon his return, he discovered that his wife had married Whitney (Jerome Cowan) shortly after John was declared dead...and she died giving birth. Years later, Jenny's child grew up to be Jean Courtland, and when Triton receives a vision of Whitney's death in a plane wreck, he rushes to California in hopes of stopping fate. However, he's foreseen a tragic future for both Jean and Whitney and is afraid of the agony that awaits them. The Night Has a Thousand Eyes was adapted from a novel by Cornell Woolrich. ~ Mark Deming, All Movie Guide