Showing posts with label thriller. Show all posts
Showing posts with label thriller. Show all posts
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| Judy Geeson, Ty Hardin, La Crawford and Diana Dors |
BERSERK (1967). Director: Jim O'Connolly.
"It's a good thing you're inhuman."
The chief reaction of cold-blooded Monica Rivers (Joan Crawford), owner of the Great Rivers Circus, to the "accidental" strangling death of her high-wire star -- in a rousing opening sequence -- is that it will bring in more people who are hoping to see somebody else die. Unsentimental Rivers only cares about her circus, but dapper Detective-Superintendent Brooks (Robert Hardy) is more concerned with preventing future murders, especially after Monica's business partner (Michael Gough) gets a steel rivet hammered into his head. Monica also has her hands full with Matilda (Diana Dors), who gets sawed in half nightly, and who thinks Monica is behind all of the killings. Then there's Frank (Ty Hardin), the new high-wire star, who moves in on Monica as if she were a 25-year-old beauty, and Monica's daughter, Angela (Judy Geeson), who has come home from school with the stern headmistress who's expelled her. Which is the killer, and who will be fricasseed next? The odd thing about Berserk is how entertaining and amusing it is, with more than one well-handled murder sequence, and good performances from most of the cast. Dors has zesty fun as the belligerent Matilda, including a lively cat-fight with another gal who makes fun of her. Some of the sideshow "freaks" sing a zippy tune called "It Might Be You," and John Scott's jangling score is effective. As for Crawford, this will never go down as one of her more memorable performances, but she struts through the picture with her customary authority and exhibits smashing legs when in her ringmaster's outfit. Geeson was also in Inseminoid, and O'Connolly also helmed and wrote Tower of Evil/Horror on Snape Island.
Verdict: No masterpiece, but suspenseful and engaging on its own terms. ***.
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| Simon Baker as mysterious Malcolm |
THE LODGER (2009). Writer/director: David Ondaatje. Loosely based on the novel by Marie Belloc Lowndes.
In West Hollywood Ellen Bunting (Hope Davis) and her husband (Donal Logue) rent a room to a handsome writer named Malcolm (Simon Baker), whom Ellen is strongly drawn to. Meanwhile Detective Chandler Manning (Alfred Molina of Spider-Man 2) and rookie detective Street Wilkinson (Shane West) investigate grisly slayings of prostitutes which first remind them of the work of a convicted and executed killer who may have been innocent, and then seem to be copycat killings of Jack the Ripper. Oddly, the same year this was released British television came out with the superior Whitechapel: The Ripper Returns which also had a copycat Jack the Ripper. Another similarity is that both of these stories pair a grizzled veteran with a new, much younger cop, whom the veteran assumes is gay but turns out (supposedly) not to be [Wilkinson lets Manning's dumb homophobic remarks just slide]. Since there are gay cops it might have been more refreshing if Wilkinson had really been gay, and it makes little sense that he allows the obnoxious Manning to think he is without correcting him. What The Lodger has going for it is that it delivers a couple of unexpected and clever twists at the end, but unfortunately it never really delivers the much-needed tension or suspense due to directorial slackness, and the characters aren't that well developed; Manning is unsympathetic as well. The performances are good, however. Tasmanian actor Baker has starred as The Mentalist on CBS for several years.
Verdict: Worth a look for the ending if nothing else. **1/2.
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| Linda Miller and Paula Sheppard |
On the day of her first communion, little Karen Spages (Brook Shields) is murdered and her body set on fire in the back of the Catholic church. The main suspect is her jealous older sister, Alice (Paula Sheppard), who is identified as the assailant when her aunt Annie (Jame Lowry) is attacked on the staircase with a butcher knife -- a very good scene -- even though the perpetrator wears a mask. Her mother, Catherine (Linda Miller) and father, Dom (Niles McMaster), who is divorced from Catherine, can't believe their daughter could be capable of such acts despite her troubles, and they may be right. But who is the maniac in the mask and yellow slicker who is turning all of their lives into a nightmare? Communion is a tasty little thriller that triumphs over some amateurish moments and one weak key performance and emerges as one of the most entertaining and unusual psycho-shockers of the period or after. Although none of the principal actors seem able to quite get across the shock and numbness their characters would be feeling after Karen's horrible murder, on other levels they are more than capable, with Sheppard quite good as the feisty, disturbed Alice, Miller effective as her mother, and Mildred Clinton positively walking off with the movie in the significant role of Mrs. Tredoni, the housekeeper for the rectory. Rudolph Willrich is also good as Father Tom, the parish priest, and a very young Brooke Shields scores as the tragic Karen; Niles McMaster is barely adequate as Karen's father, however. The worst performance, though, comes from Jane Lowry, who overacts as the Aunt as if she thought she were cast in a black comedy, badly throwing off the tone of certain sequences. An unusual cast member, even if she only appears for a minute or so, is former songstress Lillian Roth, whose life was chronicled in I'll Cry Tomorrow with Susan Hayward. Then there's the amazing Alphonso DeNoble, who plays the morbidly obese, pedophile landlord with a pee stain on his gigantic trousers. Of all the actors Willrich amassed the most credits. Filmed in dreary Paterson, New Jersey, where the story takes place, Communion has decided atmosphere, and undertones of the perverse pathology of Catholicism are pervasive. Stephen Lawrence contributed the haunting theme. Unfortunately, Alfred Sole never followed up on his promise as director, having only a couple of other directorial credits; most of his work since has been in production design. The movie was also released in theaters as Alice, Sweet Alice and re-released as Holy Terror after Brooke Shields became famous.
Verdict: Imperfect, perhaps, but fascinating and memorable. ***.
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| Bogart and Stanwyck in their only film together |
THE TWO MRS. CARROLLS (1947). Director: Peter Godfrey.
"Would you like something, officers? A glass of milk perhaps?"
Sally (Barbara Stanwyck) meets and falls in love with troubled artist Geoffrey Carroll (Humphrey Bogart), then learns he has a wife. Said wife conveniently dies, and Sally and Geoff are married, the two of them residing in Sally's palatial estate along with Geoff's very self-assured little girl, Beatrice (Ann Carter). Then along comes super-sexy Cecily Latham (Alexis Smith), who wants Geoff to paint her portrait and won't take no for an answer. Before long Sally is getting suspicious, especially when she learns that Geoff's first wife wasn't an invalid as he claimed, and that she's developing similar symptoms to what the first Mrs. Carroll had before she died ... Based on a stage play, The Two Mrs. Carrolls is a poor man's Suspicion, which was released six years earlier. There's even some business with a glass of milk. At least this is somewhat superior to the next thriller Stanwyck did with director Peter Godfrey, Cry Wolf with Errol Flynn, and the acting is quite good. Stanwyck is better at getting across the vulnerability and terror of the heroine than you might expect [although she does seem to summon up her bravery at the climax rather suddenly], Bogart is fine in all but his most challenging scenes, little Ann Carter proves a superlative child actress in her portrayal of the highly interesting and mature Beatrice, and gorgeous Smith has wicked fun as the slinky and self-absorbed Cecily, with Isobel Elsom scoring as her mother and Nigel Bruce as -- what else? -- a doctor. Anita Bolster is a riot as the saturnine housekeeper, Christine. Crackling good dialogue from Thomas Job [from Martin Vale's play] and a fine Franz Waxman score help a great deal. The last line provides a little wink at the audience. Bogart and Stanwyck play quite well together.
Verdict: No Suspicion, but fun nevertheless. **1/2.
The whole town seems mad at Dr. Rod Barrett (William Prince) because there was nothing he could do to save the life of blind Nancy Tyloe (Christine White), who was married to the Police Chief (Jim Backus) and was the second daughter of Jode Wetherby (Philip Tonge). Barrett had been married to Wetherby's other daughter, Alice (Dorothy Morris), who died in childbirth, but he is now engaged to Sylvia (Susan Morrow). One afternoon Barrett's nurse, Polly (Jacqueline Scott), receives a phone call: an unknown person tells her that Barrett's daughter, Marge (Linda Guderman) has been kidnapped and buried alive -- and is running out of air. This sets Barrett and Polly on a frantic search to find the girl while others around them offer assistance or interference. Macabre is a neat little thriller, generally well-directed by Castle [although there's at least one directorial gaffe at a funeral scene], and well-played by the cast, although some of them seem just a little, shall we say, overwrought. The movie has some good twists along the way as well. Ellen Corby plays Barrett's housekeeper, and she -- like virtually everyone else in the movie -- seems kindly but suspicious. Robb White [Homicidal] did the script from Anthony Boucher's novel "The Marble Forest." Castle manages to sustain a creepy atmosphere throughout.
Verdict: Another treat from William Castle. ***.
Christine Stanford (Rachel McAdams) is an advertising executive who takes credit for an idea developed by her assistant, Isabelle (Noomi Rapace). When Isabelle starts to assert herself -- and sleep with Christine's what-are-they-thinking? boyfriend, Dirk (Paul Anderson) -- Christine doesn't like it and humiliates her publicly. It all leads to bitchery of the extreme kind, as well as betrayal and murder. This is a remake of the mediocre Love Crime and is slightly better than the foreign original, though no world-beater. The film is more homoerotic than the original, but more likely because De Palma finds girl-on-girl action sexy than because of any desire to seriously explore lesbianism -- in fact, it's fairly exploitative and childish when it comes to the subject. The movie even goes so far as to present a lesbian as a blackmailing sexual predator! [In one stupid scene Christine calls an employee, Dani (Karoline Herfurth) a "dyke" and the latter lets her get away with it even though she just witnessed Christine kissing Isabelle on the lips!] Passion holds the attention and isn't badly acted, but it's nowhere in the league of De Palma's best movies, such as Carrie.
Verdict: Only for people who are easily titillated. **1/2.
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| Michael Sarrazin as Peter Proud |
THE REINCARNATION OF PETER PROUD (1975). Director: J. Lee Thompson. Screenplay by Max Erlich, from his novel.
College professor Peter Proud (Michael Sarrazin) keeps having weird dreams of being murdered with a paddle by a woman in a boat, so he seeks help from everyone from shrinks to a sleep researcher named Sam (Paul Hecht). Of course, the title of the movie clues the viewer in early on that what Peter thinks are dreams are actually memories of his former life as Jeff Curtis (Tony Stephano), a war hero who played around a little too much on his wife, Marcia (Margot Kidder). Determined to find out what happened, Peter searches for the town he/Jeff grew up in, and encounters his former wife and daughter (Jennifer O'Neill of Scanners), with whom he ... well, let's just say it isn't incest if the two aren't biologically related. The acting in the film is perfectly okay [although Kidder is not especially convincing as a woman in her fifties], but the movie is just kind of blah. The best, very moving scene has Jeff's almost hopelessly senile mother seeing Peter in a nursing home and recognizing him as her son. Very downbeat ending and a somewhat strange score by Jerry Goldsmith.The picture came out at a time when the subject of reincarnation had once again become very trendy, as it does every few years or so. Stephano was a handsome male model who appeared in only one other film, Tron, seven years later. Hecht has had a busy career, mostly on television. Thompson also directed Happy Birthday to Me and many other movies.
Verdict: As this is currently being remade, maybe it will come back as a much better movie. **1/2.
In this unofficial sequel to House of Horrors, the Creeper (Rondo Hatton) is back creeping about and periodically snapping people's spines. This time the character is given a name, Hal Moffet, and back story. Moffet was a cocky college football hero whose face was disfigured in a chemistry explosion [Hatton's disfigurement was due to acromegaly due to exposure to poison gas during WW1]. Unlike House of Horrors, which has a few interesting characters and flavorful performances, The Brute Man is comparatively dull and slow-paced. Aside from Hatton, who is fine if limited in the role of the Creeper [Fred Coby actually plays Moffet as a college student], the main character is Jane (Helen Paige), a blind piano teacher who hides Moffet and is befriended by him in turn. Tom Neal is one of Hal's old classmates, and Jan Wiley [Secret Agent X-9], in an especially weak performance, plays Neal's wife. Donald MacBride is the police inspector on the case. Hatton's Creeper character, or at least a variation thereof, also appeared in the modern-day Sherlock Holmes film The Pearl of Death.
Verdict: Not the best of the Creeper. **.
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| Marcel (Martin Kosleck) admires his bust of the Creeper |
HOUSE OF HORRORS (1946). Director: Jean Yarbrough.
Starving artist Marcel De Lange (Great Old Movies' favorite Martin Kosleck) is about to commit suicide in despair when he stumbles across an injured man known only as the Creeper (Rondo Hatton). The Creeper had already committed a series of murders, snapping people's spines, and is presumed dead. Marcel uses the Creeper to get revenge on his enemies, especially the acidic critic Holmes Harmon (Alan Napier), who has no tolerance for the abstract. The main suspect in Harmon's murder, however, is commercial illustrator Steven Morrow (Robert Lowery of the Batman and Robin serial), who was to be the target of his venom in the critic's latest column. Another critic, Joan Medford (Virginia Grey), happens to be Morrow's girlfriend and a champion of De Lange's macabre sculptures. But when she gets too close to figuring out De Lange's deadly secret ... This is a snappy and suspenseful horror thriller, well-directed by Yarbrough, and with an excellent performance from Kosleck, and good back up from Hatton [who thinks his bust is "pretty"], a highly vivacious (perhaps too vivacious considering the goings-on) Grey, and a more than competent Lowery and Napier. Howard Freeman also scores as another art critic, Hal Ormiston, who participates in a scheme to catch the murderer. The beautiful model Stella is played by Joan Shawlee and Lt. Brooks is Bill Goodwin. House of Horrors is an unofficial sequel to the modern-day Sherlock Holmes film The Pearl of Death, in which Hatton also played a Creeper who breaks spines. Oddly the opening credits of Horrors "introduce" Hatton as the Creeper. There were plans to make a series of Creeper films and turn Hatton into a horror star, but the poor fellow, who suffered from acromegaly due to exposure to poison gas in WW1, passed away before House of Horrors opened. Kosleck's most famous part was in The Flesh Eaters. Yarbrough directed She-Wolf of London and many, many others.
Verdict: Highly entertaining horror flick. ***.
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| Irene confronts the headmistress about the missing students |
THE HOUSE THAT SCREAMED (aka La residencia/1969). Director: Narcisco Ibanez Serrador.
"None of these girls are any good!"
In this dubbed Spanish movie, Madame Forneau (Lilli Palmer) is headmistress of a school for "difficult" girls that functions more as a reformatory. Forneau's idea of discipline is to have one of the girls whip another when the latter talks back to her. Her son, Luis (John Moulder Brown) is fascinated by the school girls, and carrying on a light romance with one of them, Teresa (Cristina Galbo). One of the more interesting students is Irene (Mary Maude), who functions as Forneau's right-hand, tracking down girls who try to escape, doing the whipping, and hitting on at least one young lady. [The film seems to have a rather antiquated attitude regarding "evil lesbians."] The big problem, however, as Irene points out to the headmistress, is that several students have gone missing in the past few months, and are never heard from again. What neither woman apparently knows is that someone has been killing these "runaways" and hiding their bodies ... The House That Screamed has atmosphere to spare and seems to have been filmed in a wonderfully creepy and somewhat dilapidated old manor that adds immeasurably to its otherwise limited impact. There's not much flair to the murder sequences, but the ending packs a small wallop. Palmer is fine as the cold headmistress, and the girls are at the very least enthusiastic, with Maude making the most of her vivid portrayal of Irene.
Verdict: So-so thriller with some compelling sequences. **1/2.
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| Dennis Christopher and Linda Kerridge |
FADE TO BLACK (1980). Writer/director: Vernon Zimmerman.
"I can't imagine the creature who would want to marry you. Who is this unlucky girl?"
A frustrated film buff nerd, Eric (Dennis Christopher), who lives with his monster of an aunt (Eve Brent), dresses up as famous movie characters and kills off his alleged enemies in manners relating to the pictures he loves. Fade to Black has a great premise -- if only it hadn't all been left up to undistinguished writer-director Zimmerman, for the movie is painfully slow-paced with a dull, dragged-out climax; 25 minutes of the film's running time should have been cut. The production is also rather cheapjack. That leaves it to the actors to make the film even remotely entertaining, and Christopher does a good job in the lead. Veteran actors James Luisi and Norman Burton make the best impression as, respectively, a police captain and Eric's boss, but there are also good moments from Immortals' Mickey Rourke (in an early film appearance) and Linda Kerridge, as a Monroe lookalike; she was "introduced" in this picture but only made a few more film appearances. Eve Brent (Forty Guns) overacts horribly as Eric's Aunt Stella. There's at least one good scene -- a mob-style attack in a barber shop on an unethical producer -- and a Psycho shower scene spoof is slightly amusing. Tim Thomerson is a cokehead idiot psychiatrist named Dr. Moriarity; Gwynne Gilford is a cop named Anne; and Peter Horton is a guy on the make for Kerridge.
Verdict: Fade to Black all right. **.
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| Suzy Kendall and Robert Hoffman |
A young couple see a woman hanging from a tree but it turns out to be a life-size rubber doll. Then Christian (Robert Hoffman) and a lady friend spot what they think is a woman's corpse on the beach, but she turns out to be the very alive Barbara (Suzy Kendall), who agrees to have a drink and then disappears. Christian next spots her at a boat party he crashes, and winds up in her motel room, where a strange man breaks into the bathroom, threatens him with a gun, and gets shot in self-defense; later the body disappears. Barbara takes Christian to a friend's cliffside tower house, where they encounter an older man named Malcolm (Guido Alberti) and his younger companion, Clorinda (Monica Monet), both of whom seem to be keeping secrets. The trouble with Spasmo is that in trying to keep secrets from the audience, it leave us in the dark for too long, making the whole thing seem pretty nonsensical. [In truth, even after the revelations, the movie still doesn't make a lot of sense.] At one point Barbara, who throughout the movie says things like "I don't understand anything" and "I can't take any more" asks Christian "doesn't it seem terribly absurd to you?" at about the same time all the members of the audience are asking each other the very same question. Meanwhile, someone is leaving "murdered" mannikins all over the place. There's a wealthy man named Alex (Mario Erpichini) who seems obsessed with Barbara, and Christian's brother, Fritz (Ivan Rassimov), who may or may not be involved in what ever's going on. The acting isn't bad, with pretty Kendall, who also appeared in Torso, acquitting herself nicely, and Austrian actor Hoffman -- this Italian production has a truly international cast -- making a more than competent and very attractive leading man. The darn thing holds your attention because it's not only unpredictable for the most part, but you keep watching it for no other reason than to find out what the hell is going on; there's at least one good twist as well.
SPOILER ALERT. Spasmo has been classified as an Italian giallo film but it's actually more of a suspense film than a horror movie or shocker. However, it does feature two brothers, one of whom is a serial killer of women, and another who stabs and strangles mannikins instead of real people.
Verdict: One of the weirdest movies ever. **1/2.
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| Brad Pitt in one of the film's few quiet moments |
"You can't make a dead person sick."
Gerry Lane (Brad Pitt) and his family suddenly find themselves in the midst of chaos when a plague breaks out in their city -- indeed, around the world -- driving people crazy and making them violently attack others. These people turn out to be zombies, reanimated after death by a virus. UN representative Thierry Umutoni (Fana Mokoena) gets Lane out, but he learns that his family can not stay in their safe refuge unless he agrees to accompany a biologist, hoping to create a vaccine, to the spot where the virus originated to look for clues. Lane later winds up in Israel, were the undead pile atop one another in a grotesque exhibition so they can launch themselves over a wall to get at the living people on the other side. [Unlike the dead in Night of the Living Dead, these zombies movie very quickly]. Lane saves the life of a young female Israeli soldier named Segen (Daniella Kertesz), and both wind up on a plane when the passengers become infected. They wind up at a research center in England where Lane thinks he's come up with a novel way of protecting people against the zombies. Despite some arresting passages -- such as the wall sequence in Israel and the outbreak on the plane -- World War Z can't quite overcome the fact that it's just another apocalyptic zombie movie [like 28 Days Later] with over-familiar ideas. Based on a novel, it still owes a lot to Richard Matheson's I Am Legend. However, it is generally fast-paced, creepy, well-acted, and often quite exciting. [Gore geeks must have been quite disappointed that despite the gruesome tone the movie does not indulge in much graphic bloodiness.] Humanism is in short supply -- there's little talk of compassion for the dead victims nor scenes where a living person sees a dead one that they loved -- and the ending is kind of flat. Foster also directed one of the worst James Bond movies, Quantum of Solace.
Verdict: More zombies that you can shake a stick at. **1/2.
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| Gene Tierney |
"Nothing ever happens to Ellen."
Author Richard Harland (Cornel Wilde) meets a beautiful woman on a train, Ellen (Gene Tierney), who's reading one of his novels but doesn't recognize him despite his book jacket picture. (That should have been his first clue.) The two turn out to have the same destination, the home of a mutual friend named Glen (Ray Collins). Ray is also hosting Ellen's adopted sister [actually her cousin], Ruth (Jeanne Crain), and their mother, Mrs. Berent (Mary Philips). Although Ellen is engaged to Russell Quinton (Vincent Price), she and Richard quickly fall in love, and get married. At first Ellen does everything she can to ingratiate herself with Richard's crippled younger brother, Danny (Darryl Hickman), but when she decides that she wants to be alone with Richard, her actions become much darker, to put it mildly ... Wilde is fine, Tierney just short of excellent, Price is okay, and Crain isn't always up to her more dramatic moments, but Leave Her to Heaven is quite absorbing. If there's any problem with the movie it's that the final courtroom segments drag and are a little too unrealistic [Price, the rejected fiance, is the prosecutor, and keeps badgering witness after witness without anyone objecting], but there's a very well-done drowning murder sequence halfway through the movie. Another memorable sequence has Ellen scattering her father's ashes in the mountains on horseback. Alfred Newman has contributed a strong score as well. Stahl also directed the 1932 Back Street and many others.
Verdict: The Bad Seed's older sister [although it was made earlier]. ***.
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| Harry Treadaway as Matthew |
THE DISAPPEARED (2008). Director: Johnny Kevorkian.
Teenager Matthew (Harry Treadaway) has been wracked with guilt ever since he let his little brother Tom (Lewis Lemperuer Palmer) go off by himself and he disappeared and is presumed dead. Matthew's mother left years ago, and there's a story circulating that his father, Jake (Greg Wise), once broke Tom's arm. Now Harry seems to be hearing voices from his brother and seeing visions of him as well. He goes to see a medium to find out what he can, and is befriended by a neighbor named Amy (Ros Leeming), Then his best friend Simon's (Tom Felton) sister, Sophie (Georgie Groome ) goes missing. ... The Disappeared is fairly unusual at first, with an added supernatural slant, but it turns into a standard thriller at the end, and the often confusing continuity doesn't help. However, it has much atmosphere, is quite poignant, and features an outstanding performance by Treadaway, a young actor who really delivers. The other performers, including Alex Jennings as a concerned priest, are also on the money.
Verdict: Sad, supernatural British thriller. ***.
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| Alone in the dark with a killer |
Blind Susy Hendrix (Audrey Hepburn) is unaware that some men who have come to her apartment pretending to either be friends of her husband or police officers are actually crooks looking for a drug-filled doll that a woman handed off to Susy's unsuspecting husband, Sam (Efrem Zimbalist Jr.). Gradually she realizes that something is wrong, and prepares to fight for her life when the gentlemen come back from a wild goose chase she's sent them on. The main trouble with Wait Until Dark -- which was based on a stage play by Frederick Knott (Dial M for Murder) -- is that the suspense is minimal because the audience is clued in to what's going on from the very beginning. Hepburn gives a very good performance and the rest of the surprisingly C List cast are fine, although Alan Arkin seems about as threatening as Boris Badenov. Julie Herrod is excellent as the neighbor child Gloria who is alternately helpful and bratty. Henry Mancini's score does what it can to increase the limited excitement. It's hard to figure why Arkin and Crenna were billed above the title along with Hepburn.
SPOILER ALERT: Susy has been encouraged by her husband to be as independent as possible despite her blindness, which leads to two problematical developments. We already know she can walk by herself to her husband's office, so instead of barricading herself in her apartment, why doesn't she just leave and ask for someone to help her get to the nearest precinct? [St. Luke's Place where this takes place runs right into Seventh Avenue and the men watching her place have gone off on the wild goose chase.] At the very end when Sam sees her bloodied and huddled by the refrigerator, he waits for her to get up and make her way towards him, but surely in a situation like this he would forget his independence edict and go hug the woman he's supposed to be in love with after such an ordeal? Also, in a moment that made some nervous nellies in the audience jump in fright, Alan Arkin leaps out of the darkness at Susy after he's been stabbed and falls to the ground unconscious. Maybe he might have been able to painfully lurch after her, but leap? The moment is ludicrous instead of startling.
Verdict: If you want to see a better Frederick Knott adaptation watch Dial M for Murder instead. **.
"You are a swine, Stephen."
Struggling writer Stephen Byrne (Louis Hayward) makes a pass at a pretty maid, Emily (Dorothy Patrick), and winds up accidentally killing her, then gets his lame, bookkeeper brother, John (Lee Bowman), to help him cover up the crime and put her body in the river beside his house. Meanwhile the mystery over the disappearing maid provides enough publicity for Stephen to capitalize on for his writing career, but his wife, Marjorie (Jane Wyatt), finds his new success a little ghoulish. Then Emily's body is found and one of the brothers is arrested .,. With moody, beautiful photography from Edward Cronjager, a fine score by George Antheil, and a memorable lead performance by Hayward, House By the River is one of Lang's best pictures. Wyatt is quite good, Bowman also good [if not on Hayward's level], and we even get Ann Shoemaker as a friendly neighbor and Kathleen Freeman as a party guest. Jody Gilbert also scores as John's housekeeper, Flora. In the Lang canon, this falls somewhere between the awful Secret Beyond the Door ... and the excellent Clash By Night.
Verdict: Brooding, well-done suspense film that just misses being a real classic. ***.
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| Felicia Farr and Mark Stevens |
A man gets sick on a train and the conductor calls for a doctor (Wesley Addy), but it's all a robbery plot, which is revealed in the first few minutes of Time Table. Insurance investigator Charlie Norman (Mark Stevens of The Dark Corner) is assigned to the case, which means he has to cancel a trip to Mexico with his wife, Ruth (Marianne Stewart). Also mixed up in the plot are Frankie (Jack Klugman of I Could Go On Singing), Bobit (John Marley), and a femme fatale of sorts, Linda (Felicia Farr). Stevens doubles as both star and director and turns in workmanlike if uninspired performances, although Walter Scharf's [The Saxon Charm] music and Charles Van Enger's photography are effective. Stewart gives an especially memorable performance as Charlie's wife, and King Calder is likewise notable as an investigator for the railroad.The movie cries out for a longer running time and better character development but there's a fairly flavorful climax.
Verdict: Interesting if minor film noir. **1/2.
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| Al Pacino |
Computer genius James Clayton (Colin Farrell of Fright Night), whose father died under mysterious circumstances years before, is recruited by instructor Walter Burke (Al Pacino of Jack and Jill), for the CIA. Clayton joins a group of young hopefuls at the Farm in Langley for training, but seems to strike out after an especially rough exercise in which he thinks he has actually been kidnapped by enemy agents. But Burke tells Clayton that far from being axed he has been chosen for a covert assignment involving supposed double agent Layla Moore (Bridget Moynahan), another member of the class, whom he is told is trying to steal a CIA-engineered computer virus right out of HQ. But as Clayton gets closer to the woman in order to learn her secrets, will this all turn out to be yet another elaborate game -- or something much more sinister? The Recruit is a mild if entertaining entry in the paranoia sweepstakes, with the leads, including lovely Moynahan, giving good performances. Pacino seems practically like a supporting player in Farrell's movie until the picture's climax in which he has a chance to shine.
Verdict: A paycheck for Pacino. **1/2.
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| Yves Montand |
THE WAGES OF FEAR aka La salaire de la peur/1953). Director: Henri-Georges Clouzot.
"If I'm going to be a corpse, I want to be presentable."
"Just takes a few months to get to be a hundred."
In a grubby, hopeless town in South America, four desperate men agree to drive two trucks loaded with nitroglycerin over rough terrain to deliver to a fiery oil well for a great deal of money. The two main characters are Mario (Yves Montand) and his fellow Frenchman, Jo (Charles Vanel), with whom he strikes up an affectionate father/son friendship which is sorely tested and pretty much defeated by their ordeal. In the second truck are Mario's former friend, Luigi (Folco Lulli) and Bimba (Peter van Eyck). What sets this movie apart from its Hollywood remake, William Friedkin's Sorcerer, is the intense, more dimensional characterization that has you caring what happens to these not always likable individuals. The Hollywood version is also afflicted with "Indiana Jones" fever in which the situations the drivers and trucks find themselves in are sometimes like something out of a cliffhanger, while Clouzot manages to generate suspense over more reasonable travails. The acting is excellent, with Vanel in particular etching a memorably superb portrait of a tough guy who has to deal with thoughts of age and fear as the taut and terrifying journey continues, but the others are also marvelous. Luis De Lima, Vera Clouzot, and William Tubbs also register as another wannabe driver, Mario's sometime girlfriend, and the supervisor in the oil company who's much more concerned with the nitro getting through than he is about human lives. The Wages of Fear is imperfect and overlong and builds slowly [although there are tense scenes even in the first half hour, such as a confrontation between Jo and Luigi in a tavern] but it is arresting and moving. At one point Mario allows his desperation and exasperatioin with Jo to go too far, but in a very satisfactory conclusion it all comes full circle. Clouzot also directed Le Corbeau.
Verdict: A classic French film well worth the viewing. ***1/2.