The Sniper (1952)
Critics Consensus: No consensus yet.
No Top Critics Tomatometer score yet...
The "regeneration" of blacklisted director Edward Dmytryk was expedited when he was hired by producer Stanley Kramer to helm the location-filmed melodrama The Sniper. In the interests of political expediency, Dmytrk was required to direct Adolphe Menjou, one of the most virulent Red-baiters of the HUAC hearings. Shorn of his trademarked mustache, and with his famous expensive wardrobe replaced by a humdrum business suit, Menjou turns in one of his best performances as a world-weary San Francisco detective assigned to track down a mad sniper. From the beginning, the audience knows that the criminal is psycho Eddie Miller (Arthur Franz), who is possessed of the notion that he must kill every beautiful brunette woman who crosses his path. Some audience sympathy is elicited by Miller's pathetic attempts to rid himself of his obsession, but this never gets in the way of the film's suspense. The excellent supporting cast includes Richard Kiley as a police psychiatrist, Marie Windsor as Miller's first victim, and Mabel Paige as the sniper's snoopy landlady. An unbilled Wally Cox shows up briefly. … More
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Critic Reviews for The Sniper
Good use of the streets of San Francisco, and you can see the film's influence on Peter Bogdanovich's rather artsier 1967 offering Targets.
... straddles the studio model of storytelling and the immediacy of low-budget location shooting...
Trazendo uma importante mensagem acerca da responsabilidade do Estado ao lidar com criminosos mentalmente instáveis, o filme conta com uma direção impecável de Dmytryk e uma atuação amargurada e intensa de Franz.
A little dated now, especially the nervous documentary-style camerawork which soon outstays its welcome, The Sniper's thriller mechanics nevertheless work efficiently.
Audience Reviews for The Sniper
a really good suspenseful film if a little preachy. pretty violent for 1952. adolphe menjou gives a fine performanceMore
Really really weak. The Sniper is completely unengaging but makes no futile effort to make its protagonist likable even in the slightest. Edward Dmytryk does some interesting camera work that almost begins to venture into film noir territory but eventually wimps out. Then the filmmakers have the gall to start pointing fingers by making the audience think after they've bored them.More
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