Footsteps in the Fog is a 1955 British Technicolor Victorian-era crime thriller starring Stewart Granger and Jean Simmons, with a screenplay co-written by Lenore Coffee and Dorothy Davenport, and released by Columbia Pictures.

After poisoning and killing his wife, the master of the house, Stephen Lowry, is blackmailed by his Cockney maid, Lily Watkins, who demands promotion.

While attempting to murder Lily, by following someone who looked like her through the fog, he mistakenly kills Constable Burke's wife and gets chased by an angry mob, which he evades.

Some local bar-goers saw him murder Mrs Burke and Stephen is put on trial, but their claims are dismissed after they are revealed to drink a lot and Lily lies to provide an alibi.

Although Lowry owes Lily his life, his eyes are on another woman, Elizabeth Travers, the daughter of a wealthy man and object of affection of his lawyer.

Lily is, however, detained by the police as the "tell-all" letter she has written to her sister, to safeguard herself after the master's failed plot to kill her, surfaces.

[8] In October 1953 Lubin, who had just made Star of India in England, said he planned to shoot his still unproduced crime thriller in that country as The Interrupted with Glynis Johns in the female lead.

"[15] The production budget was £112,118 plus an additional sum of $453,000 in fees for Stewart Granger and Jean Simmons, director Lubin and screenwriters Coffee and Davenport.

[18] The Monthly Film Bulletin wrote: "The story contains many echoes of Gaslight, and its Edwardian London setting includes the conventional elements of swirling fog, comic lower orders and sinister doings in the Big House.

Although the mood of dark, enclosed terror is unevenly sustained, the film benefits from some stylish decor and photography and is quite efficiently directed.

Stewart Granger and Jean Simmons provide very competent, if conventional, portraits of murderer and blackmailer, and the court scene contains a sharp performance by Peter Bull as the prosecuting counsel.

"[21] In 2019 Diabolique magazine called it "an unpretentious, enjoyable little thriller... it doesn’t hit great expressionistic heights but is lots of fun, and it's a shame box office receptions weren’t strong enough to allow him do more work in this line.