It was directed by George Stevens, a Hollywood filmmaker previously involved with capturing evidence of concentration camps during the war, with a screenplay by Frances Goodrich and Albert Hackett.

After climbing the stairs to a deserted garret, he is joined and comforted by Miep Gies and Mr. Kraler, office workers who shielded him and his family from the Nazis.

The action moves back to July 1942, and Anne begins by writing of the restrictions placed upon Jews that drove the Franks into hiding over the spice factory.

Kraler, who works in the office below, and Miep, his assistant, have arranged the hideaway and warn the families that they must maintain strict silence during daylight hours while the workers are there.

Otto teaches Anne and her sister, Margot, while Mrs. Van Daan passes the time by recounting fond memories of her youth and possesses the fur coat given by her father.

Their argument is cut short when they hear a prowler break in the front door and the room falls silent, only when Peter crashes into an object on the floor while trying to catch Mouschi.

A watchman notices the break-in and summons two police officers, who search the premises, until Mouschi knocks a plate from the sink, reassuring them that the noise was caused by a common cat and they leave.

Kraler warns that one of his employees asked for a raise and implies that something strange is going on in the attic, which Dussel dourly comments that it is just a matter of time before they are discovered.

As the German uniformed police break down the premises and the bookcase entrance, Otto declares they no longer have to live in fear but can go forward in hope.

She was initially interested in the role, and her name appears on the back cover of copies of the diary printed and sold to promote the "upcoming film".

According to a 1955 article published on the Daily Variety, Garson Kanin, who had staged the Broadway play, and Milton Sperling from Warner Bros. had intended to acquire the film rights, but ultimately they were sold to Buddy Adler of 20th Century-Fox.

[7] George Stevens initially resisted the idea of shooting the film in CinemaScope because he thought that this format would not convey the claustrophobic effect he wanted to reproduce.

When Spyros Skouras, president of 20th Century-Fox, insisted on CinemaScope, Stevens and cinematographer William C. Mellor decided to reduce the space by limiting the action to the center of the screen.

It manages, within the framework of a tense and tragic situation, to convey the beauty of a young and inquiring spirit that soars beyond the cramped confinement of the Frank family's hideout in Nazi-occupied Amsterdam.

Everything possible is done to keep the action moving within its narrow, cluttered space, and a remarkable balance is achieved between stark terror and comedy relief, yet there are moments when the film lags and the dialog becomes forced.

He has brilliantly flowed a three-hour picture through an attic in Nazi-occupied Amsterdam and etched a harrowing ordeal for survival in the brave behavior of eight Jews hiding there.

With successive superbly detailed scenes that convey the cluttered, claustrophobic nature of that hideout in Amsterdam, he has developed a slow heat of friction among the people secluded there and frequent hot fusions of mental torment when discovery threatens from downstairs.

It included seven major new featurettes: three cast interviews, a behind-the scenes look at the score, two short documentaries about George Stevens' memories from the war and the history of the diary, and a perspective piece on the film's legacy by Thomas Rothman.