United States
1963
101 minutes
Color, Black and White
1.85:1
English
19
Seeking a Pulitzer Prize, a reporter has himself committed to a mental hospital to investigate a murder. As he closes in on the killer, madness closes in on him. Writer, director, and producer Samuel Fuller masterfully charts the uneasy terrain between sanity and dementia. Criterion is proud to present Shock Corridor in a gorgeous, black and white widescreen transfer with its rarely seen color sequences.
| Johnny Barrett | Peter Breck |
| Cathy | Constance Towers |
| Boden | Gene Evans |
| Stuart | James Best |
| Trent | Hari Rhodes |
| Pagliacci | Larry Tucker |
| Dr. Menkin | Paul Dubov |
| Wilkes | Chuck Roberson |
| Psycho | Neyle Morrow |
| Dr. Cristo | John Matthews |
| Swanee | William Zuckert |
| Lloyd | John Craig |
| Dr. Fong | Philip Ahn |
| Police lieutenant | Frank Gerstle |
| Director | Samuel Fuller |
| Written, produced, and directed by | Samuel Fuller |
| Color sequences photographed by | Samuel Fuller |
| Editing | Jerome Thoms |
| Cinematography | Stanley Cortez |
| Music | Paul Dunlap |
| Choreography | Jon Gregory |
| Costume design | Einar H. Bourman |
| Art director | Eugene Lourie |
“Why Sam Fuller?” a new essay by Tag Gallagher, in the latest issue of Senses of Cinema, asks. Aficionados might wonder, why even ask? But perhaps they forget that the two-fisted termite art of this . . .
It is a good time to belong to the cult of Fuller. Those of us who consider ourselves members never forget our moment of induction. Some enlisted when his films first hit the screen—lucky enough to catch The Steel Helmet in a shabby downtown theater, or Forty Guns at . . .
Here is an honest, visionary, pulp film, stripped of all romanticism, with characterizations and themes more real and relevant today than ever. To watch Shock Corridor now is to experience the complex, wacky, full-blown masterpiece of one of Hollywood’s great originals, Samuel Fuller . . .
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