Too much of everything

Strong and Moving!

Powerful

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

KEY WITNESS, based on Frank Kane's novel of the same name, is sort of the successor to MGM's 1955 BLACKBOARD JUNGLE, but with more acting flourishes (mostly by the supporting cast) and realistic settings. By 1960, delinquency and gang violence were recognized as an unpleasant reality outside of "old" urban centers such as New York -- but also not always (or often) involving such well-scrubbed suburbanites as those depicted in REBEL WITHOUT A CAUSE. Though its script stumbles in some notable places (a few involving basic logic -- except that this was a new world for many of the people who would have been watching in 1960), KEY WITNESS is a good depiction of the law abiding running up against the sociopathic lawless, with horrendous consequences for all concerned. The movie also plays, in somewhat naive fashion, on a racial angle in its plot and characterizations -- this is an odd touch, considering that the entire gang in Kane's book, if memory serves, was African-American. (Additionally, the book is more violent and also a lot more raunchy in terms of the Ruby character, who alludes to the idea of explaining her assault on the witness's wife because of a (rejected) lesbian overture in a courthouse ladies' room). The movie ends a little too squeaky clean and optimistically, not that differently from THE BLACKBOARD JUNGLE, but is more harrowing along the way. Along with releases such as THE SUBTERRANEANS, which was done around the same time, it was all a really interesting venture by MGM into territory far from its roots in high art and Americana, and an admission that the 1940s were long-gone. And anyone who likes the movie should check out the novel.

Even Dennis Hopper doesn't look very punkish in this lame, dated yarn. In fact, Hopper and his male co-punks look like they just left men's prayer breakfast at the local Baptist church! And "man" is indeed the operative word, since most of them appear a lot closer to thirty than eighteen. And Johnny Nash, as the "colored boy" who endures the gang's racially derogatory jibes, even acts like he'd be more at home in Sunday school--or at a high school chess club meeting. It's hard to swallow the cinematic assertion that this bunch could get involved in murder, assault, grand larceny, and conspiracy to kidnap. But, while any thuggishness of appearance is downplayed, their behavior is so over the top that it emerges as farcical. Joby Baker, as a nastily oh-so-cool hepcat, is reminiscent of Mark Rydell in the 1956 feature Crime in the Streets. (Moreover, Baker plainly states that he doesn't like girls.) The actors, however, can scarcely be blamed for this lumpy melodrama. Jeffrey Hunter and Frank Silvera deliver straight, low-key efforts, and Terry Burnham, as Hunter's little daughter, puts in a fine performance. Pat Crowley, on the other hand, could emerge only as overwrought when she is scripted to fret about unwashed dishes as her family flees for its life. Despite the movie's incongruity of characters, the plot--though utterly predictable--does move along at a steady pace. At times, though, it feels overedited, as with an apparent reluctance to deal in detail with attacks on Hunter's family. The film's value lies in its interest as an unintentional parody of Fifties depictions. As such, it is well worth a look-see.

This movie really had me laughing and rolling in my lounge chair. The corny lines and predicaments the main characters were faced with let you know how advanced the screenplay writer was in the 50's & 60's. The so-called "hip-talk" was so funny that I know the actors probably had to do several takes to keep from laughing at themselves saying the lines. This movie believe it or not touches on the urban social conscience of the world too.I thought Key Witness was interesting. The characters were of different genders, race, class and creed. It also also gave you an understanding about life in East L.A. during the late 50's & early 60's. If Key Witness was re-made to reflect the times of today, the following actors should be cast in the character roles: Mr. Morrow - David Hasslehoff or Rob Lowe, Mrs. Morrow - Christina Applegate, Cowboy - Brad Pitt, Apple - David Alan Grier or Micheal Beach(Third Watch), Ruby - Christina Applegate, Carmen Electra, Madonna or Melissa Milano or Melissa Rivers (first acting gig) Muggles - Brad Pitt, Vince Vaughn or Colin Ferrell, Det. Turno - Obba Obatunde, Giancarlo Espisito, Charles S. Dutton, Magician - Vince Vaughn . The plot would be the same only updated to reflect the times. Its a classic for any young filmmaker to use as a guide and training tool. Check it out!

Key Witness verges on the point of hysteria, and lacks credibility throughout, but it's still a riveting drama, directed by Phil Karlson in typically tough fashion.Most of the performances are over-the-top, but as the witness to a gang stabbing, Jeffrey Hunter gives a standout performance. Without overacting, he brings plenty of energy and intensively to his role, playing an Everyman driven to the breaking point by the mob terrorizing him and his family. Next to Brainstorm (1965), this is his best work.Although the film may infuriate you with its pat ending, you shouldn't be bored for an instant.