The KKK took my baby away, they took her away, away from me. Storm Warning was directed by Stuart Heisler and written by Richard Brooks and Daniel Fuchs. The film features Ginger Rogers, Ronald Reagan, Doris Day, and Steve Cochran. Daniele Amfitheatrof composed the music, and Carl E. Guthrie handled the cinematography. While visiting her sister in Rockpoint, model Marsha Mitchell (Rogers) witnesses a murder committed by the Ku Klux Klan and sees two of the perpetrators without their hoods. Upon arriving at her sister's home, she’s shocked to discover that Lucy’s (Day) boyfriend is one of the killers! The question becomes whether she should do what’s right, follow District Attorney Burt Rainey’s (Reagan) instructions, or protect Hank Rice (Cochran) and keep him from going to prison. The biggest criticism has to be addressed upfront: the film avoids confronting the issue of racial hatred and the KKK head-on, instead opting for a less controversial approach. While it does depict them as cowardly murderers hiding behind hoods and portrays them as dimwits following a Grand Wizard more interested in money than race, this trivializes an important topic. We are the law here. The judges and jury! However, if considered on its own terms—as a film noir melodrama rather than a social commentary—it’s thoroughly engrossing. It contains familiar elements of film noir, like bigotry, fate, family problems, and a woman in danger (the situation where she's essentially trapped with the enemy is particularly effective), all simmering beneath a surface of moral obligation. The movie also has plenty of atmospheric style; Heisler (Among the Living/The Glass Key) and Guthrie (Backfire/Caged) create shadowy streets, misty jail cells, and a courtroom scene filled with slatted shadows that reflect the moral conflict in the air. Don't give me that Halloween routine. Heisler demonstrates a good eye for imagery as well as technical skill, such as shots of young Klan members or the symbolic image of a burning cross falling. He also directs his cast exceptionally well. Don’t believe anyone who says Rogers is miscast; she isn’t—she's spirited, alluring, and strong, yet vulnerable, making her ideal for a role originally meant for Bacall. Day portrays a confused innocence that works perfectly, reinforcing Heisler’s reputation as a director of actresses. Reagan and Cochran are both solid performers, with Cochran departing from his usual cool demeanor to offer a different kind of characterization. The film doesn't fully capitalize on the opportunity to really condemn the KKK, and at times it feels like lower-quality Tennessee Williams. Nevertheless, the filmmakers transform this Southern town into a diseased noir landscape, where the story is skillfully paced and performed, building moodily toward a truly excellent ending. It’s well worth watching. 8/10

Source on TMDB