Russ Conway has been convicted of manslaughter on the testimony of Michel Ray. Young Ray has been unable to walk since he was in a car accident that killed his father, so a sympathetic jury believed him unreservedly. George Nader, however, newly returned from South America believes the boy lied. He had begun an affair with the boy's widowed mother, Cornell Borchers, and had wanted to marry her. The mother and son, however, had become so co-dependent, with Ray so sullenly manipulative, that Nader had eventually thrown up his hands. Now he's going to go back and try to get the truth out of the boy, by working on a relationship with him.
The actors are up to their roles, it's an interesting concept, and there's a long flashback sequence to illustrate Nader, Borchers and Ray on the first go-around that stops the movie dead in its tracks for the first third. I find the editing of the matter puzzling; surely, explaining the situation and then showing it makes all dramatic tension go out of the movie. Surely this could have been fixed, by having Nader state his conviction that Ray lied, being asked how he knew, then going into the flashback.
Contemporary audiences stayed away, making this movie a flop and putting an end to Miss Borchers' film career. I'm going to lay the blame on Ted J.Kent's editing. It turns what might have been a slightly brisker, better paced movie into just one of the glossy soaps that Universal cranked out in the late fifties that seemed a lot longer than its nominal 82 minutes.
The actors are up to their roles, it's an interesting concept, and there's a long flashback sequence to illustrate Nader, Borchers and Ray on the first go-around that stops the movie dead in its tracks for the first third. I find the editing of the matter puzzling; surely, explaining the situation and then showing it makes all dramatic tension go out of the movie. Surely this could have been fixed, by having Nader state his conviction that Ray lied, being asked how he knew, then going into the flashback.
Contemporary audiences stayed away, making this movie a flop and putting an end to Miss Borchers' film career. I'm going to lay the blame on Ted J.Kent's editing. It turns what might have been a slightly brisker, better paced movie into just one of the glossy soaps that Universal cranked out in the late fifties that seemed a lot longer than its nominal 82 minutes.