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  • I'm convinced that movies that have SHADOW in the title have a better than average chance of being good flicks. This flick SHADOW ON THE WALL upholds that little axiom. It starts slow, but stick with it, it picks up steam quickly.

    This one eschews the normal trappings of noir, such as the seedy private eye, and the femme fatale while maintaining the stark cinematography and riveting suspense. Ann Sothern turning in a surprising performance, always the good girl in movies, here the director plays on that, to create a character whose actions becomes ever more... egregious. And because she is so much one of us, one of the good people, we are carried along... with her fall.

    A movie that ultimately revolves around four women as central characters, would hardly seem to fit the noirish mold, but this film is far less lifetime network and far more grim, and gritty. The only foray into the the world of Noir by its director Pat Jackson, and the only script ever done by its writer Hannah Lees, the movie is deserving of far more recognition than its received. A solid little thriller. *** out of **** stars.
  • Warning: Spoilers
    Best known for starring in the classic sitcoms "Private Secretary" and "The Ann Sothern Show", Sothern delivers a dynamic dramatic performance in this suspenseful thriller. Ann plays a woman who discovers that her sister is having an affair with her husband-to-be. Sothern confronts the sister, accidentally kills her, then flees the scene, allowing her brother-in-law to take the rap. The plot thickens, however, when it is discovered that Sothern's traumatized young niece witnessed the dreadful event, and the child is starting to regain her memory. The supporting cast also impresses, but this is Ann's vehicle all the way, and, as usual, she is magnificent.
  • Unheralded little thriller with a number of nice touches. Little Gigi Perreau (Susan) has the pivotal role and comes through beautifully. If we don't identify with her or her emotional trauma, the movie doesn't work. Fortunately, we do. The movie scared the heck out of me as a boy, mainly because I was viewing the menace through the eyes of my peer, little Susan. Still, it's the movie's ability to engage even adults through Susan's eyes that drives the suspense. For the little girl, it's an adult world only dimly comprehended that one night turns so shockingly ugly, she must repress it totally. Nancy Davis Reagan-- perhaps surprisingly for many viewers-- is very persuasive as the doctor helping Susan to recover.

    Looks like this was another B-movie from MGM's Dore Schary period when he was refashioning the studio's star-studded image. The under-rated Scott and Sothern are certainly playing against type, he as a kind-hearted father, she as a cold-hearted murderess. Oddly, the screenplay shares focus among these four players instead of centralizing one or two as is usually the case. In terms of actual screen time, it's probably Nancy Davis's movie, though she was likely too unknown to get star billing. Then too, whatever happened to Kristine Miller as Scott's faithless wife. She certainly looks the part and acts it wickedly.

    Speaking of talented unknowns, director Pat Jackson put this neat little package together. His career appears a rather brief one, mainly in England, where he also directed several episodes of the cult TV series, The Prisoner. Too bad he disappeared so quickly, because there are a number of nice directorial touches here. Note Pike's (John McIntire) shadow engulfing Dell (Sothern) at movie's end indicating the retribution to come; the blurry special effects mirroring little Susan's traumatized mental state; the suggestive hair-drier closing over Dell's head like an electrocution helmet; the great noirish shot of Dell framed against ominous skyscrapers suggesting dark powers looming over Susan. Anyway, this all adds up to a very effective little thriller, proving that even though late to the party, MGM could B- movie with the best of them.
  • Warning: Spoilers
    I'm not sure why some people are bashing this movie. My only thought is that they were either too young to remember it when it used to come on quite often on the late show in the 60's or they weren't born. This matters because of the way thrillers are made and shown today. Today Hollywood is very clever with FX and big budgets to make you believe almost anything. But back in the 50's and 60's, movies had to be able to trick you into believing with smoke and mirrors. Alfred Hitchcock was a master of this. Which is why his movies were the more popular and respected of the lot. But there are many "old" movies that captured audiences' imagination with just suttle hints of realism and great acting. I mentioned smoke and mirrors, but let's add shadows to that group. This movie did just that. The "shadow on the wall" indeed was the ingredient to make this one of the sleeper thrillers of that era. Right when you think that the killer just might get away with the crime, you are hit with an obvious but unconscious dose of child's innocence which breaks through all barriers of psychology. I remember well as a little girl watching this movie in the sixties and being shocked at the end of it. It was one of those "see it every time it comes on" movies for me and my friends. That's because in part that is was well acted and challenging to the psyche. If you are looking for the new type of "sixth sense" thriller, then this movie isn't for you. But, if you like a good time trying to figure out what's going to happen, then "Shadow on the Wall" is not disappointing. It is fun without the blood and gore.
  • jotix10025 August 2006
    Warning: Spoilers
    A young husband comes home only to discover her second wife has been having an affair behind his back with her own sister's boyfriend. David Starrling has entrusted his young daughter, Susan, by a previous marriage to Celia, a beautiful and sophisticated woman, who is more preoccupied in two timing the absent husband than caring for the girl. Into this picture enters Dell, Celia's own sibling, who discovers how her own sister has been deceiving her.

    One night, after Dell has visited David and Celia, she returns to confront her sister. Unknown to her, Celia has been having a fight with David because, he too, has told her all that he has seen and the way he has caught her lying. After heated words are exchanged, a gun goes off and Celia lies dead on the floor. Susan, who evidently has seen it all from a side door, begins screaming hysterically.

    David is accused of the murder of his wife and is found guilty. He receives the death penalty and is sent away to await the date of his execution. Susan's trauma lands her in a children's hospital, where the kind Dr. Caroline Canford, a specialist in psychological disorders is working with the girl to restore her mental balance. Dell, who has a lot at stake wants to get rid of Susan so that she can put behind this unhappy time she has been living. When she gets custody of the girl, wants her to come stay in her country place, Susan, who has suffered a great deal, suddenly sees a familiar shadow projected on the wall and screams for help, as the mystery is solved.

    Pat Jackson, a British director, got an fine screen play from William Ludwig, which he turned into a satisfying thriller. He got helped along the way by the interesting music score Andre Previn composed and the cinematography by Ray June, with its dark shadows. The movie holds the viewer in a certain suspense, even when the culprit is known from the start.

    Ann Sothern, who for some reason bears an uncanny resemblance of Agnes Moorehead in this film, has some good dramatic moments; she makes the best out of them. Sweet Gigi Perreau is seen as Susan, the girl at the center of all the intrigue. Nancy Davis, who went to be the First Lady of the land, makes an impact as Caroline Canford, the doctor that is able to untangle everything in the young girl's mind. Zachary Scott is only seen briefly. The rest of the players make a valuable contribution to make this picture worth seeing.
  • This is a very good B movie done in the noir style. Ray June was the cinematographer, and his deep focus work makes the film worth seeing all by itself. Note particularly the bedroom scene where everything is doubled. Zachary Scott, for a change, plays the typically confused noir male, and Ann Sothern, showing the force of period style, switches from Maisie to a somewhat tormented femme fatale. Enjoy!
  • A young girl(Gigi Perreau) becomes traumatized after she witnesses the accidental killing of her stepmother(Kristine Miller). Well-acted film noir showcases the dramatic talents of the exceptionally gifted actress Ann Sothern, who was known primarily for her 'light' roles in films like MAISIE. The film also features an early appearance by Barbara Billingsey, better known as June Cleaver on the popular '50's sitcom LEAVE IT TO BEAVER.
  • A young girl(Gigi Perreau)suffers amnesia after witnessing her stepmother's murder. Zachary Scott is the husband mistakenly put in prison for the murder. Ann Southern, straying from her comedic roles, has trouble hiding her guilt and even thinks of causing harm to the little girl to keep her quiet.

    Fast moving film-noir also starring John McIntire and Nancy Davis. This was before Miss Davis became Mrs. Ronald Reagan. Small roles for familiar Barbara Billingsley and Jimmy Hunt.
  • I received a great deal of pleasure watching this movie. I saw this movie years ago when I was a little girl. Although I was young, I remember it in detail and consider it to be one of the best movies I've ever seen. The actors were great and it was filled with a lot of action. It was a great mystery and very enjoyable to watch. There was a touch of horror also added in this film and it kept you on the edge of your seat. You didn't know what to expect from scene to scene. There was never a dull moment and the excitement kept you guessing who the murderer was. For certain this was a thriller that everyone would enjoy. I'd love to be able to see it on either VHS or DVD. If there is a way to put this movie on VHS or DVD, it would be worth it. We really do need more movies as good as this one.
  • Shadow on the Wall is directed by Pat Jackson and adapted to screenplay by William Ludwig from the story "Death in the Doll's House" written by Lawrence P. Bachmann and Hannah Lees. It stars Ann Sothern, Zachary Scott, Nancy Davis, Giggi Perreau and John McIntire. Music is by André Previn and cinematography by Ray June.

    A nifty psychological hot pot this one. Story centers on a young child called Susan Starrling (Perreau), who after witnessing the murder of her step-mother, succumbs to amnesia. Which is inconvenient for her father since he has been convicted of the murder and sent down to await execution. Can determined psychiatrist Caroline Cranford (Davis) eek the truth out of Susan's troubled memory? Can the real killer ensure that that isn't the case?

    It's a personal thing of course, but I have always found there to be something off kilter about doll's houses, and here we are greeted to an opening shot of one, superbly accompanied by Previn's ominous music, it's a perfect mood setter as to what is to come. Story lacks any mystery dynamic since we are privy to exactly what has gone on regarding the who, why and what fors, and in truth the outcome of it all is never really in doubt. So for although it's a thriller pic dressed up in film noir clobber, it doesn't have the verve or devilment to really be classed full bodied as such. But that's by the by, visually and the presence of a child in peril, with main character disintegration the key feature, puts it into noir lovers considerations.

    Since the title features the word shadow it's no shock to find shadows and low lights feature prominently. The lighting effects are very striking, the changes in contrasts perfectly befitting the mood of certain scenes. Such as when dialogue is implying emotional discord, or the silent mindset of our antagonists, while a couple of neat shadow smother shots are killer narrative boosts. The main building of the piece is not the doll's house, but that of the hospital where Susan is receiving treatment, and at night photographer Ray June perfectly sets it up for peril and dastardly deeds. While we also get a bit of wobble screen to signify troubled mental confusion.

    Cast range from adequate to very good. Honours go to Perreau, who is never once annoying, turning in an involving performance that has us firmly involved in her world, whilst Davis (the future First Lady Reagan) is very understated, where she gets a well written female character whose not relying on male dominance to expand the part. And with Jackson directing in an unfussy manner it rounds out as a pic worth seeking out. 7/10
  • Containing Two of the Tropes Familiar to Film-Noir (not counting shadows), Amnesia and Psychiatry/Psychology, this Off-Beat Little Movie is Big on Suspense and Contains an Unusual Lead Role for a Child.

    Reminding of Val Lewton, the Film has an Ethereal Quality that gives it quite an Edge. The Cast is Better than Average with Zachary Scott and Ann Sothern Playing Against Type and Nancy Davis giving a Low-Key, Restrained Good Turn as a Psychiatrist that Works Fine for the Film.

    The Child Actress Gigi Perreau is in Many Scenes and Holds more than Her Own with a Performance that is Spot On as the Disturbed and Haunted Little Girl. The Movie has Style with a Number of Ominous Scenes and Flourishes that Enhance the Mood.

    A Definite Film-Noir with MGM Finally Deciding to Slum and Forego the Haudy Studio Persona, Finding Itself Forced to Play the B-Movie Game by 1950 with Changing Post-War Audience Expectations. They gave the Genre this somewhat Underrated Gem that many Folks seeing it as Children were Definitely Affected by its Dreamlike Setting.
  • This was a pretty decent movie. Nancy Davis (Reagan) was solid

    as the psychiatrist trying to help little Susan (Gigi Perreau in a very

    good performance) remember a horrible event which she had

    witnessed. Zachary Scott, one of my favorites, proved real men can

    handle supporting roles with as much flair as the more substantial

    roles. And imaginative casting with Ann Southern as the baddie --

    she handled it well without going over the top (as some

    comedians are tempted to do with dramatic roles). Script could

    have used a little more meat and the ending could have been a bit

    more imaginative, but, all in all, not a waste of ninety minutes of

    your time.
  • David (Zachary Scott) is married to a no-good cheat, Celia. After returning from a business trip, he learns at a dinner party that his wife and 'friend' are having an affair. Later, as the two are arguing over this, Celia knocks out David. In the meantime, Celia's sister, Dell (Ann Sothern) arrives and confronts Celia for stealing her fiancé. Soon Dell kills Celia...and with David unconscious, he's assumed to have done the killing...and David isn't sure he didn't. David's been sent to death row and the only glitch in Dell's plan is that David's young daughter (Gigi Perreau) might have witnessed the killing and Dell needs to be certain she won't talk. While the young girl is too traumatized to fully recall the events, she could remember through the course of therapy...and it could be Dell on death row instead! So Dell can either wait and hope the child cannot remember or kill her to make certain!

    This is an unusual film due to the casting. This is NOT a complaint, but seeing Ann Sothern playing a killer is interesting, as she usually played nice, sweet folks like her Maisie character from the 1940s. At first, you can understand her motivation in killing her sister...but to see her attempting to murder an innocent child...that is a dark and twisted character! Additionally, this is one of the few films I've seen where Nancy David (Reagan) is given a chance to really act and she was quite nice as the child psychiatrist, Caroline. In other films, such as "Hellcats of the Navy" and "The Next Voice You Hear", Davis never really had a chance to shine as an actress.

    As for the film itself, it is very good and worth seeing. It's also very unusual for MGM...a studio that wasn't known for such dark films back in 1950. In general, film noir pictures were done by other studios and MGM preferred making 'nice' movies...but here they've created a rather hard-hearted film! This is NOT a complaint...I liked the film and can easily recommend it to anyone.

    By the way, one odd thing you see in the film is 'hydrotherapy'. Back in the bad old days of psychiatric treatment, hospitals often used baths to somehow try to cure or alleviate suffering in mental patients. In the really bad old days, it was ice water! Here, in the more enlightened 20th century, the baths were less traumatic and more soothing--with warm water. Of dubious value...but at least not harmful in the latter.
  • Warning: Spoilers
    I saw Shadow on the Wall when I was 11 years old as part of a double feature with Annie Get Your Gun. I have never forgotten it. Its major impact on me as a youngster was watching another young child being threatened so menacingly by a supposedly loving adult female. I was spellbound by the performances and sat on the edge of my seat throughout the film. The ending was fantastic. Previously, I had associated Ann Southern with light romantic or comedic performances on radio and TV, never as a villain, and such an evil one at that. It is the only movie that I remembered Nancy Reagan being in, and I thought she and Zakery Scot were great and that Gigi Pieureux was marvelous. I have described this movie to friends many times over the years, and now I look forward to seeing it again at age 71.
  • During the opening theme, the music starts out happy go lucky, and suddenly turns heavy and dark. This indicates that all is not well.... Zachary Scott (best known for Mildred Pierce) is David, who has a little daughter from his first wife. of course, the daughter Susan doesn't like new mom, Celia, played by Kristine Miller. to add intrigue, Celia has a man on the side. and David knows. and lets everyone know that HE knows. then things really go south! Ann Sothern is Celia's sister "Dell". Nancy (davis) Reagan is in here as Doctor Canford. She's treating Susan, who may or may not have witnessed a terrible event. Some psychiatrist therapy and discussions, as we try to unlock what really happened. pretty good stuff. the music is great. mostly good acting and story. Directed by Brit Pat Jackson. didn't win any oscars, but seems to have had a pretty successful career in hollywood before returning to England.
  • bkoganbing1 August 2016
    Warning: Spoilers
    Future First Lady Nancy Reagan is in Shadow On The Wall as a mental health therapist. Her client is young Gigi Perreau who got the career role of her life as the young girl who saw her stepmother being murdered and her father Zachary Scott going away for the crime.

    Still Reagan suspects something's not quite right as Perreau fails to recover despite all kinds of treatments, some of which today would never be used. With dad in jail the closest living and she's not quite a relative is Ann Sothern, victim Kristine Miller's sister.

    For those used to seeing Ann Sothern in roles like Maisie Revier on the big screen and Susie McNamara on television her portrayal here will be a revelation. In fact she murdered her sister and wants Perreau under her control to do away with her. She makes a few attempts to do just that during the course of the film.

    Zachary Scott is also a revelation. Usually he's the scheming mastermind of plans like Sothern has for Perreau. For those who remember The Mask Of Dimitrios this is a totally different Zachary Scott.

    This one is worth a look.
  • Warning: Spoilers
    I first saw this film when I was about five years old. There were two things I remembered clearly. The first was Nancy Davis as the psychiatrist talking about the sketch of the Indian doll which little Gigi Perreau* had named "Cupid." At five years of age I assumed that "Cupid" was an Indian spirit that was menacing the girl. The second was the climax in which the little girl realized that her aunt, Ann Sothern, was the killer(I won't go into details for people who have not yet seen this film, but it's a stunner.) The latter scene practically scared me out of my diapers, as I thought that Sothern was not a human being, but a ghost of some kind.

    I carried the memories of those two scenes with me for over fifty years. I finally got up the courage (yes, it took me that long)to buy the video online. As it turned out, SHADOW ON THE WALL was not a supernatural tale of menace, but a darn good little suspense story. It just shows you what tricks your memory can play on you.

    Now, if I can just do the same thing with CREATURE WITH THE ATOM BRAIN...

    *who I actually met in the mid-sixties, and did not seem to be any taller than she appeared in the movie.
  • A film noir (or kid's noir as Noir Alley host Eddie Muller classified it) from 1950. A man comes home from a business trip to find his wife is having an affair w/the future husband of her sister's (whew!) so when she's confronted by the allegation he gets knocked out (from a hit to the head w/a hairbrush). In a panic the wife calls her sister who's none too happy to hear the news so when a gun goes off killing her, the husband is locked up for the murder but there was a witness, his daughter, but she is in a state of amnesia (due to the shock of the crime) & must be coaxed back to mental stability w/the help of a kindly psychologist (played by one Nancy Davis later Reagan). Using a child's POV to be the linchpin to the murderer's identity is a great conceit as impressionistic imagery & genuine horror from an adolescent becomes the engine for the story to travel through. Ann Sothern plays the jilted villain who's paranoia soon overwhelms her as she plots to do away w/the witness before her memory can be restored. Special mention must go to the child lead, played by Gigi Perreau, who embodies her performance w/the right combination of terror & emotional withdrawal further drawing the audience into her plight.
  • Underrated Offbeat Film-Noir Angered that her sister Celia has stolen her fiance, Dell Faring kills her and allows Celia's husband David, knocked out in an argument with Celia, to take the blame and end up on death row. Later Dell, finding out that David's young daughter Susan was witness to the crime and is undergoing psychiatric treatment, plans to eliminate her before her memory returns. Trivia The treating psychiatrist, Dr. Caroline Canford, was played by a future "First Lady," Nancy Davis Reagan. Nancy had met then First Lady Grace Coolidge when she was seven. The film also features an early appearance by Barbara Billingsey, better known as June Cleaver on the popular '50's sitcom LEAVE IT TO BEAVER.
  • Zachary Scott equals film noir, right? Not always, as you can find out watching "Shadow On The Wall". It starts out with great promise but then quickly he gets killed. The movie then turns into a potboiler about child psychiatry and the star of the film becomes Gigi Perreau.

    Had never seen or heard of this picture until it was on TCM the other evening and I thought what a shame to squander the talents of Zachary Scott and Ann Sothern in such a tepid melodrama. I was waiting for some noir touches, like a hard-boiled detective in a trench coat or a stool pigeon on a bar stool, or maybe a body in an alleyway. Instead, I got Nancy Davis doggedly trying to probe the mind of a six-year old.

    I suppose it was interesting enough for a rating of six and all concerned did a good job in the acting department, but the storyline bordered on tedium for prolonged stretches, relieved only by Ann Sothern's scenes. OK, but falls far short of edge-of your-seat stuff.
  • Shadow on the Wall starts out with some promise as a marital spat between New York sophisticates escalates into violence. But the rest of the film centers on their daughter, who has witnessed but repressed the scene, and her psychologist, Nancy Davis (later Reagan). It's hard to say which of them is more insufferable. The movie will probably keep your attention (it's blessedly short) but it's hard to work up much affection for a vehicle that so totally miscasts, and wastes, Ann Sothern.
  • FOLKS, please stop abusing the term "film noir." This flick is a very mundane B movie, with a ridiculous plot.

    The actors are adequate, certainly, but this film is little more than a "filler." Scott, Southern and Davis are fine, considering the material with which they are working.

    The first twenty minutes are promising, but the film quickly falls apart, once the plot is centered on the young girl.

    It's great to have access to these obscure movies on TCM. However, this is simply a poorly constructed film. And, to reiterate, this is NOT A FILM NOIR.
  • 'Shadow on the Wall' is the kind of film that has always interested me and is the sort that one would see me visiting quite a lot. The title is a catchy and attention-grabbing one and the story on paper sounded really interesting. Also interesting was to see Ann Sothern and Zachary Scott in roles as atypical as one can get, it is always fascinating when actors and actresses play against type. This is a heavier than usual role for Sothern and Scott is not the villain or mysterious character this time around.

    Finally seeing 'Shadow on the Wall', after being behind on my film watching and reviewing, due to slowing down to help sort myself out a bit, it turned out to be an effective and well done film if falling a little short of being great. It is an example of actors actually excelling at playing against type and even if it is an uneven film a lot works in 'Shadow on the Wall's' favour. If one asks me if 'Shadow on the Wall' is recommended by me, my answer would be yes if not entirely enthusiastically.

    A lot of good things here. Sothern shows that she can do more than the more light-hearted roles, here she is cold-blooded and almost femme fatale like and she does this pretty chillingly. Scott also sheds his usual villainous and mysterious character image and plays a more sympathetic character, he displays that side very well too in having intensity but not in a sinister sense this time. Gigi Perreau is neither too cute or too much of a brat, she plays a haunted young character pretty unsettlingly and it does haunt the mind. All the cast, including Nancy Reagan, are good.

    The production values are stylish and atmospheric, not once looking cheap while never trying to do too much. The music is suitably ominous when necessary. The script doesn't descend into awkwardmess or cheese, instead it flows well and intrigues. The story is mostly fine, more the first half than the second, while not rushing the build up it unsettles still.

    Not that the second half isn't strong, actually thought that there was intrigue and tension. The suspense got lost though in the final third or so and the momentum dipped, so it wasn't as involving or as atmospheric as what came before.

    Moreover, the pace is not always there, it's solid in the first half but is erratic in the second with some padding going on.

    In conclusion, well done if not great. Anybody that likes it when actors play against type should see this, two actors do it and they excel at it. 7/10
  • A small film of a small world with a child in the centre of the action - the film proceeds from her doll house. It's a doll house story, and most of the film consists of games the little girl plays with grown-ups, as they try that way to find out what she could have seen of a mysterious murder - a jealous husband is convicted for having shot his wife to death, but he was unaware of the killing, while she was having an affair with her sister's husband, and that sister is Ann Sothern, who makes a remarkable character out of her, developing from a bullied wife betrayed by her husband to finally doing something about it with very serious consequences, making her more and more nervous and feeling compelled to continuing on the way down, ruthlessly suppressing any human scruples. It is not only a good story, and very intriguing as such, but it is extremely well made, almost on the Hitchcock level, and what adds a great deal to the treat is the amazingly excellent score by Andre Previn. This is indeed a titbit especially for lovers of psychological drama, and the tension will rise throughout the film. Above all it's an indispensable study in child psychology.
  • Warning: Spoilers
    I haven't seen many films of Ann Sothern, but apparently she starred in mostly light-hearted, comedic fare. But I feel she does a fine job in taking on this more serious, dramatic role. Nancy Davis takes a good turn as the caring psychiatrist assigned to help the young Susan remember what she saw. I must say she has never appealed to me as an actress (and even less as the psychic-obsessed First Lady). She always comes across rather vanilla and boring to me. I think the child actress did a great job as the daughter who witnesses her step-mother's murderer, but claims she can't remember anything.

    I liked some of the imagery used in this film. The actual murderess is sitting having her hair done at the beauty Salon, and suddenly she envisions the salon chair and the hair dryer as the electric chair. There is a nice split-screen effect when young Susan is remembering the shadow on the wall and juxtaposes it with her "Injun" doll.

    One oddity in the film I noticed is the court scene when the father is being sentenced - the jurors are all men. I guess this hearkens back to before women were "allowed" to be jurors. (As late as 1942 only twenty-eight state laws allowed women to serve as jurors, but these also gave them the right to claim exemption based on their sex. The Civil Rights Act of 1957 gave women the right to serve on federal juries, but not until 1973 could women serve on juries in all fifty states.) Also, there is a scene where the step-aunt (aka the murderer) is allowed to sit in a room behind a two-way mirror and observe the psychiatrist's working with Susan. This would never be allowed due to Doctor-Patient confidentiality. Also, there is a "bath therapy" where Susan is left ALONE in a treatment room in a bath hammock and almost drowns - again, something that would never happen.

    My biggest complaint with the movie though is the attempts that the step-aunt/murderer, Dell, takes to murder her young step-niece. I just found it pretty disturbing.

    Perhaps the best aspect of the film was the music score. I especially liked the opening sequence. It starts out with a happy tune, with a childish melody, then turns into a menacing, fearful tune. This sets the stage for the film. Unfortunately, the film doesn't quite deliver.
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