User reviews

"Your Witness" was made at the Toddington Studio owned by Warner Brothers. Several US film companies set up studios in the UK because of a British law mandating a certain percentage of the movies shown in theaters would be made domestically. And, like many of these productions, an American prestige actor appeared in the film....and in this case, Robert Montgomery not only starred in it but directed as well.

The story begins in the States and Adam Heyward (Montgomery) learns that an old British war buddy has been arrested for murder! Adam drops everything and heads to the UK to see what help he can provide. While Adam also is a lawyer, he cannot defend this friend in church because he doesn't have any standing (privileges) in British courts. Instead, he investigates and spends much of his time looking for a supposed witness who can verify that the killing was done in self-defense.

This is a film that is the epitome of competent. It's not a great film nor a bad one...just a well made one that is worth seeing, particularly if you like Montgomery. Worth seeing.

American lawyer Robert Montgomery learns Michael Ripper, who saved his life during the war, is being tried for murder and flies to Britain to help out. He learns that Ripper claims that although he shot the murdered man, who threatened him with a gun. The gun has vanished, but there seems to have been a witness whom no one can identify.

It's more an actor's show than a movie, with Montgomery offering his last theatrical performance -- he also directed . It's certainly watchable throughout, but little more. With Leslie Banks, Felix Aylmer, Jenny Laird and James Hayter.

In his final film Robert Montgomery's boredom is only too apparent in this uninvolving courtroom drama that however boasts a cast that manages to include both Leslie Banks and Stanley Baker.

It bears a striking resemblance to the similarly titled 'Hostile Witness' (also directed by and starring a visitor from Hollywood, on that occasion Ray Milland), even down to the judge being played by Felix Aylmer; the later film's most obvious concession to the passage of time being that that was in colour.

Robert Montgomery's final screen appearance,which he also directed,is a slow moving mystery which spends far too much of the running time on irrelevant scenes pointing up the supposed differences between the British and American character. Montgomery meets a gallery of UK stereotypes such as garrulous publican,dim witted police sergeant and stuffy judge.

The plot concerns RM travelling to England to help clear an old army buddy of a murder charge. There is some mild suspense during the last twenty minutes when the identity of a secret witness is revealed. Leading lady Patricia Cutts (called Patrcia Wayne here) is one of those rather horsey English blondes with a cut glass accent. Her acting is rather stilted and there is little chemistry between her and Montgomery. It's a far cry from his wonderful acting/direction job on Lady In The Lake.

I adore Robert Montgomery. He was a totally classy guy without being self-consciously so.

Here he plays a tough NYC attorney who is urged by his secretary to not just send money to the man who saved his life in the war but to cross the Atlantic to assist in his defense.

Montgomery directed and while there's a blessed minimum of cutesy quaintness added in the English village setting, it has a consistently British "literacy" bordering on wordiness, perhaps not out of place in courtroom scenes. It's all very low key and well done. Robert Montgomery had not lost any of his style since his early days and is still wry and bemused in one of his final acting roles.

This thriller moves at a snail's pace towards its very predictable conclusion.The first half of the film dwells on differences between American and British court procedures.This film was not only the swan song Of Robert Montgomery but also Leslie Banks.There is a brief glimpse of Stanley Baker at the early stages of his career.It is difficult though to realise that the Robert Montgomery who directed this film is the same one who directed the impressive Lady In the Lake.The fact that this was his last film wad probably more to do with the fact that he had bigger fish to fry.In any event at his age he was unlikely to attract many leading roles.Produced by Hitchcock colleague Joan Harrison.

As director, Robert Montgomery displays considerable intelligence here, using a leisurely pace and disarming comedy relief in emphasizing British versus American conversation. When those crucial scenes central to the main story and high drama come to pass, they are all the more effective by way of contrast. The kid on the witness stand is as potent as "Witness for the Prosecution" with Dietrich by Billy Wilder years later (Agatha Christie's play was first produced in 1953).

In his final movie role as actor, Montgomery impressively dominates the screen as protagonist in nearly every scene, investigating the case and interacting, sometimes comically but potently as the show's drama escalates. Similarly, the supporting performances by Patricia Cutts, stepdaughter Ann Stephens and Leslie Banks move from low-key to powerful and poignant by the eventful final reel.

If this was Robert Montgomery's last film appearance, I'm really depressed. What happened to the sparkling, witty, dapper earlier Montgomery of "Private Lives" and films of that period? Of course, "Eye Witness" didn't have a script by Noel Coward; yet, we expect more, much more than we get here. Mr. Montgomery walks, often plods, though his role with limp attempts at wit in exchanges that focus repetitively on stereotypical differences in language and culture between Brits and Yanks. Bor-ing! and puzzling since Montgomery's character had been in England during the War.

While some of the performances were good, even they couldn't save the film from its comatose script and unimaginative direction and camera-work. The film is shot as though there was only one camera and with few closeups or varied angles. All in all, a disappointment.

I watch a lot of 40's and 50's films these days and I caught this on TPTV, a great channel for older movies and TV shows..... I thought this might be the typical fayre of these British films with a 'high profile' American actor, this was not the case.

There's some great humour regarding the language differences and the very different way of life of the English countryside..... the court scenes also highlight this chasm between America and Britain at this time. Indeed, it still happens today but not to such an extent. I recall myself when in the USA, struggling to get a cup of coffee because the staff couldn't understand my London accent or another guy asking me what I thought of the hire car I was driving, it was the newest model and thinking I was a local he asked me what was new about this model, to which I replied that "I didn't know because it was a hire car"..... he looked at me for a moment and then asked " How much higher is it..?" ..... to which I burst out laughing and he left quite indignantly, thinking I was laughing at him ...!

This film highlights these differences in a humorous and also frustrating way, for all involved.... The American star is also not typical in that he doesn't start solving clues or bulldozing through people to find the truth.... He's just an ordinary guy who adapts and because of that, he is able to gain people's trust and confidence.... That I think is highlighted in the final scene from the court proceedings and the manner in which he teased out the vital testimony of the 'star' witness .... and most importantly in the final scenes after the court case is over...

It's a good story and kept me interested and enjoying throughout..... Robert Montgomery was also the director and I think that this as well as his role as the star made this film all the better..... a very different film than most of the time and because of that well worth watching....

Directed and starring Robert Montgomery. He plays Adam Hayward, an American lawyer who arrives in a sleepy British village to defend an old wartime buddy Sam Baxter (Michael Ripper.)

He has been accused of killing a stable hand called Lawrence, who implied that he had a fling with Baxter's wife.

While Hayward has no standing in the British courts. He does some sleuthing to track down a female eyewitness. She could testify that Baxter killed Lawrence in self defence.

It is good to see wartime loyalty being repaid. Even when things are tough, Hayward and Baxter remember they survived tougher times.

However too much time is spent on the differences between the English and the American legal system. As well as mannerisms and the the differences in language between both countries.

It all gets too plodding and it never livens up. Even the romance subplot is tepid. It is hard to believe that Montgomery also directed the Philip Marlowe thriller Lady in the Lake.

I'm frequently amazed by the low scores, and detrimental reviews about older films on here.

Some films have you gripping the seat of your chair, others have plenty of whooping and hollering - this was comfortable armchair viewing, where you could almost smell the hay, the stables, and the flowers in the village church.

This might have a somewhat predictable storyline, but the softened focus and beautiful locations further enhance the performance by an excellent cast of recognisable characters.

The transition from bustling streets in the States, contrasts beautifully with the tinkling of bicycle bells in a quintessential English village, as the lead character enters the local inn - run by Mr Memory, from The 39 Steps.

The livery stables are as I remember some from the 1950s, with overhanging ivy, and leaning gates - in fact the portrayal of a post war village is perfectly played.

Having a somewhat predictable plot provides a suitable vehicle for an experienced and talented cast, to display their talents and ability to a greater effect - giving impeccable and almost imperceptible nuances to their characters and portrayals.

There was ample time for the enjoyment of these performances, whilst still absorbing the plot line, the anticipated conclusion in the courtroom, and the final scenes around the magnificent house and garden.

Robert Montgomery, by 1950 better known as an actor than as a director, takes on both duties in EYE WITNESS (or YOUR WITNESS, in the US movie circuit) - and I have to say that he does remarkably well.

To that end, he is ably assisted by the UK postwar-evocative cinematography of Gerald Gibbs, and screenplay by Hugo Butler and Ian Hunter, telling of US Major and lawyer Adam Heyward flying to the UK to save from the gallows a UK Army sergeant who had saved his life behind German lines during World War II.

Of course, upon arrival in the UK he finds that the English spoken there is different (some chuckles at the interpretation of words and expressions), that lawyers and judges dress and address colleagues and the public rather more formally than in Uncle Sam, and he meets a host of British characters played by supporting thespians of the highest grade, including Michael Ripper as the wrongly accused friend Heyward does his utmost to rescue from the noose, Felix Aylmer as judge, James Hayter as trial witness, Stanley Baker as a copper, Leslie Banks as Colonel Summerfield, pretty Shelagh Fraser as Ellen Foster, and many others in a supporting cast bristling with talent and sobriety to give the film an authentic British background.

Montgomery delivers a quietly effective performance, bemused at times, serious at other times, always with an eye on stunningly beautiful Patricia Wayne.

Though perhaps 10-15 minutes longer than it needed to be, dialogue is interesting throughout, B&W photography highly accomplished, especially the bucolic setting, which the extremely pleasant score by Malcolm Arnold only enhances.

After showing courage in directing and acting in LADY IN THE LAKE four years ealier, in which he appeared only in reflections in the mirror, Montgomery comes full circle as a talented director in this his final film, before turning to TV work.

Certainly worth watching.