With narrative similarities to Ted Tetzlaff’s The Window (1949), another Cornell Woolrich story adaptation narrated partially through a child’s perspective, Antonio Santillán’s El ojo de cristal (US: The Glass Eye) may be lighter in tone than most noirs but far darker in atmosphere: Albiñana’s chiaroscuro cinematography transforms the cobblestones and streetlamps and brick walls and tunnels of Barcelona into a maze of shadows and hiding places. Carlos López Moctezuma plays car salesman Enrique, whose greed drives him to commit two grisly murders, and young Manuel Fernández Pin plays Pedro, son of the insecure police inspector (Armando Moreno) assigned to the case, whose boyish curiosity and discovery of a glass eye (which belonged to the first victim) leads him on his own investigation (dressed in trench coats and scarves, the boys at times looking like miniature Phillip Marlowes). The superstar of the film, however, is the visual noir atmosphere, established from the very first frame in a beautiful long shot of a distant Enrique walking toward the camera through a bombed-out tunnel of darkness.