Film produced by the International Ladies Garment Workers Union -- featuring several well-known Broadway actors -- recreates Triangle Fire of 1911 and compares working conditions of the 1910's with the 1950's.
In Tomahawk, the crooked Jackman brothers control the town, Sheriff Dunham is up for re-election, the sheep growers are banned in town and a stagecoach line undercover investigator arrives to catch the gang that regularly robs the stages.
A secretive widower hires a governess for his children, a willful boy and impressionable girl. Strange occurrences and the governess's curiosity lead her to unlock the secrets of the mysterious and uninhabited brownstone next door.
The ice-cold diva Paula ruthlessly exploits the guys she dates. While blackmailing the married Don with a recent one-night-stand, she has a secret affair with Henry, who works as researcher for the weekly authentic TV show "Crime of the Week", which Don writes for. When Henry fails to help her to a role, she insults him deadly... and ends up dead herself. Now Don desperately tries to hide his traces, but Henry sabotages his efforts and suggests he write the unsolved murder case for next week's show...Written by
Tom Zoerner <Tom.Zoerner@informatik.uni-erlangen.de>
Edward G. Robinson's character, Henry Hayes, is an art collector, just as Edward G. Robinson was in real life. See more »
When Don drives with Henry to the studio and "takes the wrong road", the exterior shot at that moment shows him with what appears to be a female passenger instead of a character wearing a hat, as what Henry is wearing. See more »
Set in early television, "3-D" thriller seems like early television
Though much less stylish to look and (and listen to), The Glass Web owes a debt to Michael Curtiz' The Unsuspected of six years earlier. Both movies take as their principal setting a live true-crime show the earlier in the waning days of radio, the latter in the dawning of the television era. And both make use of the technology of their respective mediums to help unravel their plots.
Head writer of the crime show John Forsythe and researcher Edward G. Robinson are at loggerheads; Robinson finds Forsythe callow and slapdash while Forsythe dismisses Robinson, a former police reporter, as an old fussbudget. Both men, however, are carrying on with the same woman, a Los Angeles television actress ( Kathleen Hughes) whose interest in them is entirely mercenary apart from the professional advancement she schemes for, she's always got a hand out for `loans,' which then escalate into blackmail.
When she turns up strangled in her apartment, there's little weeping or gnashing of teeth. Robinson proposes turning the solving of her murder into their season-ending cliffhanger, sure to cinch a skittish sponsor. Both he and Forsythe turn in competing scripts; one of them, however, contains details which could have been known only to the killer....
Set in the world of early television, The Glass Web looks and feels like early television. But upon its release it was part of the early-1950s Hollywood panic over the upstart rival medium, and featured one of the desperate gimmicks calculated to lure viewers back into theaters: 3-D. Fortunately, the projectiles that got early spectators ducking in their seats are confined to a few intense spates and today look rather quaint (even in 3-D, they'd look quaint). Director Jack Arnold went on to make at least two movies that have been enshrined as camp classics: The Incredible Shrinking Man and High School Confidential. The Glass Web is nowhere near so memorable, but it's diverting enough in a don't-expect-much kind of way.
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