Coventry "The Shadow on the Window" is a rather anonymous and insignificant 50s drama/thriller, but it's engaging enough for as long as it lasts, thanks to a few interesting story ideas and a decent cast. I'm sure that director William Asher envisioned making a fantastic hostage thriller with film-noir echoes, in the vein of "The Desperate Hours" that was released two years earlier, but he eventually had to settle for a modest B-movie without spectacular action footage or Humphrey Bogarts in the cast. Little 7-year-old Petey accompanies his mother to a large and remote farmhouse. It's her first working day as a secretary for a wealthy, elderly businessman, while Petey plays outside in the garden. Unfortunately enough, three ruthless young thugs decided that today they would invade the home of the old man and rob him. Just when little Petey looks through the window, he witnesses how the man is brutally killed by the assailants. Petey promptly goes into a severe state of shock, runs off into the streets and gets picked up by friendly truck drivers. While his mother is kept hostage by unprepared but extremely dangerous criminals, Petey is reunited with his father – and police detective – Tony Atlas but he remains in shock and unable to explain what is happening to her. It's definitely a good plot for a tense and forceful "race-against-the-clock" thriller, but the screenplay nevertheless suffers from a couple of defaults and clichés. I really don't understand, for example, why the hoodlums remain in the house or why one of them has to be a sensitive one. The leader of the pack, John Drew Barrymore, tries really hard to look handsome and nihilistic, and he probably dreamed of becoming the next James Dean. The little kid who portrayed Petey, on the other hand, became quite famous thanks to his role in the TV-series "Leave it to the Beaver".

Michael O'Keefe Interesting crime drama from Columbia Pictures that stars John Drew Barrymore as Jess, a psychotic criminally minded teenager that leads two of his friends, Gil(Corey Allen)and Joey(Gerald Sarracini)into a not-so-well planned robbery. The trio force their way into and kill a well-to-do homeowner after robbing him. There are immediate problems right off the bat. Witnesses...a secretary, Linda Atlas(Betty Garrett)and her son Petey(Jerry Mathers). The young boy manages to escape the house and is mute after witnessing the shocking events. Linda's husband happens to be Detective Sgt. Tony Atlas(Phillip Carey);and he is a determined cop with the safety of his family on the line.Garrett actually shows the better acting. Although Barrymore is pretty flawless as a psycho teen. Carey is diligent and stoic. Rounding out the cast: Paul Picerni, Rusty Lane and Sam Gilman. William Asher directs.

jotix100 This film has the feel of a TV drama made into a B film. Saw it on cable recently as a curiosity since a young Jerry Matthews was in it. The drama, directed by William Asher, was a surprise. The film is a police drama where a young mother, working as a free lance secretary for a farm owner, gets tangled in a break in that ends badly. Her young son, playing innocently outside watches the whole thing. What young Petey witnesses produce in his little mind a trauma that makes him run from the scene until he is found by two truckers going to market.The movie was a product of the era in which takes place. Betty Garrett, as Linda, is perfect for the part. Also good was Phillip Carey, an actor that never had great opportunities in films. The scene stealer is Jerry Matthews, who played Beaver in the old series.

John Seal Starring Jerry Mathers as the shell-shocked child who witnesses an assault on his mother, Shadow On the Window is a decent 'B' film with a solid cast and a decent script. Jerry's dad, a police officer, is played stoically by Phil Carey and mom is Betty Garrett, decent as a woman under constant threat from three stereotypical teen bad boys. One of the boys is played by Corey Allen, who revisited the role in the similarly themed Key Witness (1960), and the others are John Drew Barrymore--apparently channeling the spirit of an evil Dobie Gillis--and lovable lunk Gerald Sarracini. Beach Party director William Asher displayed his serious side here, and cinematographer Kit Carson got some nice set-ups during the climactic chase scene across roof tops and through subway tunnels. I'd love to know where this was filmed--perhaps somewhere in the Imperial Valley of California?