Directed by Thomas Z. Loring and released by 20th Century Fox on June 19, 1942, Thru Different Eyes is a 64-minute crime drama that uses a courtroom lecture as a framing device to explore a complex murder case. Written by Samuel G. Engel, the film stars Frank Craven, Mary Howard, and Donald Woods, and blends romantic entanglements with legal suspense in a compact, character-driven narrative.
Plot Summary
District Attorney Stephen Pettijohn (Frank Craven) returns to his alma mater to deliver a lecture on the dangers of relying solely on circumstantial evidence. To illustrate his point, he recounts a recent case involving the murder of banker James Gardner (Jerome Cowan).
Gardner had married Constance (Mary Howard) to spite her former lover Ted Farnsworth (Donald Woods). When Constance and Ted visit Gardner’s country lodge to request a divorce, Gardner refuses—and is found dead that night. All evidence points to Harry Beach (George Holmes), who is convicted and sentenced to die. But Pettijohn’s retelling reveals how multiple perspectives and hidden motives complicate the truth, ultimately leading to a surprising resolution.
Cast Highlights
- Frank Craven as Stephen Pettijohn
- Mary Howard as Constance Gardner
- Donald Woods as Ted Farnsworth
- June Walker as Margie Pettijohn
- Vivian Blaine as Sue Boardman
- George Holmes as Harry Beach
- Jerome Cowan as James Gardner
- Charles Lane, James Flavin, Ruth Warren, and Irving Bacon in supporting roles
Trivia & Behind the Scenes
- The film was produced by Sol M. Wurtzel, known for his efficient B-picture productions at Fox
- Vivian Blaine made one of her earliest credited screen appearances as Sue Boardman; she would later become famous for her role as Miss Adelaide in Guys and Dolls
- The screenplay’s structure—using a lecture to frame a flashback—was innovative for its time and allowed for commentary on legal ethics
- The story emphasizes the fallibility of circumstantial evidence, a theme that resonated during wartime when public trust in institutions was under scrutiny
- Cinematography by Charles G. Clarke and editing by Louis R. Loeffler contribute to the film’s tight pacing and noir-like atmosphere
- The film should not be confused with the 1929 Fox film of the same name, which is unrelated in plot and production
- Though modest in scale, the film was praised for its intelligent script and moral complexity, typical of Fox’s mid-tier dramas of the era
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