I liked this film because while it dealt with a tough subject (the morality of the death penalty--particularly in cases where there is circumstantial evidence),it was not preachy and didn't have any obvious answers. I could easily see this movie as being enjoyable to those opposed to the death penalty or those who want to see its widespread use--the film presents so many arguments for both opinions as well as those in the middle. It's actually pretty rare to see a film accomplish so much.

Dana Andrews plays a writer who is dating Joan Fontaine. Her father is an editor of a newspaper who is anti-capital punishment and he convinces Andrews to 'set himself up' for murder using only circumstantial evidence. This is to prove that an innocent man could easily be convicted on such evidence and this would supposedly make for an excellent book. So, once an unsolved murder occurred, they step-by-step created evidence that pointed in Andrews' direction but was not damning in and of itself--taking photos that proved the whole thing was orchestrated. One of several holes in the story is that if this REALLY was done, the legal system would not be very forgiving of a man who cost the state a fortune in legal expenses--all for a book! The plan seems to be working out just fine,...that is until the editor is killed in a car crash and the evidence exonerating Andrews is destroyed in the resulting fire!! Now Andrews is about to be convicted and there's no one who can prove it's all a set-up! I liked how towards the end the story took many unexpected turns and was a real thinking-person's film. Unfortunately, the ending is both very interesting but a bit hard to believe. I suggest you just watch it and try not to think about this weak ending too much, as the rest of the film is pretty dandy and engaging. Dana Andrews and director Fritz Lang, as usual, did a fine job.

Reading the plot summary and seeing who was involved in front of and behind the camera, 'Beyond a Reasonable Doubt' went immediately onto my ever growing watchlist, which very slowly is decreasing. Most interesting for being Fritz Lang's final Hollywood/American film, the story just sounded so interesting, at his best Lang's films were fantastic (notably 'Metropolis' and 'M') and Dana Andrews and Joan Fontaine were no strangers to great performances.

Getting round to watching it finally, 'Beyond a Reasonable Doubt' lived up to its name, reasonable but part of me was a little disappointed because it could have been great. Of course there are a fair amount of good things, at the same time there are some not so good things that could have been avoided. While nobody is wasted as such here, all have done far better work in films far more ground-breaking or influential or both even. Sure, wasn't expecting that particularly from 'Beyond a Reasonable Doubt' as it is not that kind of film, just writing down my thoughts out loud.

Will start with the good things. The production has a nice atmosphere in parts and there is some moodiness in the photography. The music is not exceptional and is not the most atmosphere enhancing of scores, but it at least appealed to my ears and didn't jar. Lang's direction has a teasing quality in the second half, one of the main reasons to see 'Beyond a Reasonable Doubt', and the script in especially the first half is reasonably clever and provokes a great deal of thought.

There are some nice twists and turns in the plot, some well-maintained if not nail-biting suspense in parts, some surprisingly ahead of the time scenes and the story has enough moments where it at least engaged me and kept me on my toes and guessing. The cast do fare well, some doing most with too little to do. Andrews is another reason to see 'Beyond a Reasonable Doubt' with his chillingly calculated lead performance, while Fontaine is one of the main cases of making the most with the sympathetically loyal quality she brings of material that doesn't really show the best of her. Their chemistry is charming enough. Sidney Blackmer comes off best in support with Barbara Nichols faring well too.

Did think however that there is an under-budgeted and rushed-looking feel to how some of 'Beyond a Reasonable Doubt' looks. While Lang's direction teased effectively in the second half, it came over as by his standards a little too laid back in some of the first half. The story and pace are uneven. The pace does pick up in the second half, but some of the first half although thought-provoking is a little too slow and tired.

'Beyond a Reasonable Doubt' could have done in the number of turns it had, there are contrivances here and some parts are too reliant on coincidence. Worst of all was the ending, which really stretched credibility and felt rushed.

In conclusion, interesting enough but uneven. 6/10

In his last film in the USA before returning to Germany where he had left to escape the Nazis in the Thirties, Fritz Lang takes up the case of capital punishment and its application, especially when the case is a circumstantial one.

Unlike the remake of Beyond A Reasonable Doubt with Jesse Metcalfe as the reporter and Michael Douglas as a corrupt District Attorney, both Sidney Blackmer as a newspaper publisher and Sheppard Strudwick as the politically ambitious DA hold each other in respect. Blackmer is not happy with Strudwick running up a string of murder convictions as a platform to be governor.

He and prospective son-in-law Dana Andrews agree to frame Andrews with a string of manufactured evidence all carefully documented with photographs to have the police arrest him for murder of a burlesque queen that the police are stumped about. It certainly works all right, but as the case is coming to verdict, Blackmer is killed in an automobile accident and the evidence burn with him. Andrews is left in quite the jackpot.

How it all works out is for you to see. Andrews is not abandoned by fiancé Joan Fontaine who is Blackmer's daughter. She does what she can and toward the end of the film her performance dominates.

Fritz Lang certainly builds the tension worthy of Alfred Hitchcock himself. One scene did have me baffled. After the police have gotten those arranged clues, Andrews makes some moves on burlesque dancer Barbara Nichols who resists his advances. I could not quite believe that one at all.

This original version is a notch or two above the Metcalfe/Douglas remake. Though it got an interesting alternative remake, this is still the one to see.