7.3/10
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60 user 46 critic

Woman on the Run (1950)

Not Rated | | Crime, Drama, Film-Noir | 4 February 1951 (Japan)
Frank Johnson flees police after becoming an eyewitness to murder. He is pursued around scenic San Francisco by his wife, a reporter, the police, and - the murderer.

Director:

Norman Foster

Writers:

Alan Campbell (screenplay), Norman Foster (screenplay) | 1 more credit »
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Cast

Complete credited cast:
Ann Sheridan ... Eleanor Johnson
Dennis O'Keefe ... Dan Legget
Robert Keith ... Inspector Ferris
John Qualen ... Maibus
Frank Jenks ... Detective Shaw
Ross Elliott ... Frank Johnson
Jane Liddell Jane Liddell ... Messenger Girl
Joan Shawlee ... Blonde (as Joan Fulton)
J. Farrell MacDonald ... Sea Captain
Steven Geray ... Dr. Hohler
Victor Sen Yung ... Sam
Reiko Sato ... Suzie (as Rako Sato)
Syd Saylor ... Sullivan
Tom Dillon Tom Dillon ... Joe Gordon (as Thomas P. Dillon)
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Storyline

Frank Johnson (Ross Elliott), sole witness to a gangland murder, goes into hiding and is trailed by Police Inspector Ferris (Robert Keith), on the theory that Frank is trying to escape from possible retaliation. Frank's wife, Eleanor (Ann Sheridan), suspects he is actually running away from their unsuccessful marriage. Aided by a newspaperman, Danny Leggett (Dennis O'Keefe), Eleanor sets out to locate her husband. The killer is also looking for him, and keeps close tabs on Eleanor. Written by Les Adams <longhorn1939@suddenlink.net>

Plot Summary | Plot Synopsis

Taglines:

As Startling as Your OWN Scream in the Night!


Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

4 February 1951 (Japan) See more »

Also Known As:

Einer weiß zuviel See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (RCA Sound System)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

The only known print of this film was destroyed in a fire in June of 2008, leaving only a few very low quality, nearly unwatchable prints in the public domain.

Eddie Muller, host of Turner Classic's Noir Alley, did a bit of detective work and found a 35 mm print at the British Film Institute. He had it shipped to UCLA Film and Television Archive where with financial help from Muller's own organization, the Film Noir Foundation and the Hollywood Foreign Press Association's Charitable Trust the film was preserved for generations to come.

This is one of Eddie Muller's favorite noir films for a number of reasons, including the pairing of two great actors, Ann Sheridan and Dennis O'Keefe, who wrote their own dialogue, but mostly because of its use of San Francisco, Eddie's home town, while it was still a bustling, growing, blue-collar seaport. See more »

Quotes

Eleanor Johnson: [in the dark shadows of a roller coaster on the deserted beach at night] I don't like this place.
Dan Legget: It's a good spot. I used to come here with my girl when I was a kid. It's more frightening than romantic. It's the way love is when you're young... life is when you're older.
See more »

Connections

Featured in Crime Wave: 50 Movie Mega Pack (2016) See more »

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User Reviews

More Than a Programmer
1 December 2014 | by dougdoepkeSee all my reviews

Lots of imaginative touches in this suspenseful noir. Catch the midget in the phone booth, the mannequins from heck, or the camera that pulls away from the climax. Director Foster sure didn't treat this as just another programmer. For that matter, neither did the producers who popped for atmospheric San Francisco locations plus an A-list cast. All in all, there would appear to be a backstory to this unusual production.

So who's going to help poor Sheridan now that a killer is searching for her estranged husband. Not the cops, since Keith is too ornery to sense her need. But then she comes across as a pretty tough cookie (as only Sheridan can) herself. And what about reporter O"Keefe. Is he really a help or just in it for himself. At first I thought the plot was a whodunit, but then it turns into a moody nail-biter, along the lines of urban classic DOA (1950). And what about those great SF locations that lend genuine atmosphere. Cameraman Hal Mohr does an expert job complementing the story with many of SF's exotic settings. In fact, the acting and production values manage to keep attention away from plot developments that at times are a stretch.

I guess my only real reservation is with the camera pull-away at the climax. It's imaginative and heightens suspense, but also dilutes the outcome that we never get to see. Still, however you take that, the movie itself remains an exotic slice of b&w, and a tribute especially to its director and cameraman.

(In passing-- why the title 'Woman' On The Run when it seems it's really a man.)


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