WITNESS TO MURDER. United Artists, 1954. Barbara Stanwyck, George Sanders, Gary Merrill, Jesse White, Harry Shannon, Juanita Moore, and Claude Akins (uncredited). Directed by Roy Rowland.

   A young unmarried businesswoman (played to sharp perfection by Barbara Stanwyck), unable to sleep one night, happens to see a man choking a woman to death in the apartment across the street from her. Immediately calling the police, she is dismayed to learn that the man (George Sanders, in his most urbane manner) has hidden the body, and the police have no evidence to take the case any further.

   Obviously this comes as a shock to Miss Stanwyck’s character, and while puzzled, the homicide detective in charge of the case (Gary Merrill. as stolid as always) finds himself trying to shield her from accusations of mental non-capability, furthered on by Sanders’ own furtive manipulations behind the scenes (but not to us, the viewer). She ends up spending one or two nights in a crudely constructed mental institution before Merrill can bail her out.

   And while we the viewer know full well the story will end well, the story as told in pure noir fashion is gripping and well told, as if the budding romance will shatter and break at any moment of the proceedings. The ending, though, while predictable, of course – and equally breathtaking – is the weakest link. Over the top, one might say, but still within the limits of credibility, barely.

   It’s all nicely done, though. Nicely done.