Now he had only one weapon left - murder! ...To prevent an even more shocking crime!
Sam Bowden, witnesses a rape committed by Max Cady and testifies against him. When released after 8 years in prison, Cady stalks Bowden and his family but is always clever enough not to violate the law. Bowden enlists the aid of a local police chief, a private detective and then hires thugs to harass Cady all to no avail. The film climaxes pitting Bowden and his family against Cady.
Move over, Anton Chigurh. Sit back down, Hannibal Lector. Step aside, Harry Powell. Max Cady has come to town, and he thinks you're all a bunch of pansies.
It's one thing to put on a performance that overshadows all other aspects of an otherwise good film. It's another to put on one that pulls the rest of a good film into greatness. Robert Mitchum, whom I have ashamedly not experienced much of, gives such a show here in Cape Fear. Yes, the score by Bernard Herrmann, ominous and accentuating rather than intrusive, didn't need much help. And yes, Gregory Peck et. al. do just fine on their own (especially so for Polly Bergen as his wife and Barrie Chase as…
Performances : 8.1/10
Story : 8.8/10
Production : 8.5/10
Overall : 8.47/10
It must be said that Robert Mitchum was clearly one of the greatest actors to ever grace the silver screen. Conversely, Gregory Peck may very well be one of the worst. That's all opinion obviously, but I've seen three Peck films this month and he was below average in all of them. I've given up on him. Luckily Mitchum more than made up for any of the other cast members faults. He plays Max Cady, this horrible sick fuck of a human being and he plays him flawlessly. This was easily one of the best performances I've ever seen and it's such a shame the rest of the…
Robert Mitchum's turn as Max Cady created one of cinema's greatest bad guys, a man with no limits who imposes his will onto an adversary who doesn't even know he is one until he's already on the back foot. This is his most depraved character, prepared to go even further than the Reverend Harry Powell, a man who only answers to himself.
He disappears completely into the skin of Cady leering at the world around him through his poisonous eyes. Eight years in prison allows a man the opportunity to learn the virtue of patience and he uses it as his most potent weapon against Sam Bowden and his family. He appears at his most menacing not when he is…
I got somethin' planned for your wife and kid that they ain't nevah gonna forget. They ain't nevah gonna forget it... and neither will you, Counselor! Nevah!
Martin Scorsese is my favorite director without question. Has been for years. I'm one of those people that when the trailer for Hugo came out, I would look at anyone that said it didn't look good as if they were an idiot and say "Of course it's going to be good, it's Scorsese for Christ's sake!". So it'll come as no surprise that I've seen his remake of Cape Fear too many times to count and think that Robert De Niro's portrayal of Max Cady is one of his all time…
I was always cautious in approaching the original Cape Fear, one of my tent pole list of shame films. Its influence stretches far and wide, the story is embedded in pop culture and the performances are nothing short of iconic. Not to mention the staying power that the remake has on me and though Scorsese's film owes everything to this one, it was a challenge to divorce myself from De Niro's almost-demonic Max Cady as the benchmark of evil.
1962 was a much different time for movies. Cape Fear comes from a more moralistic, high-minded society where the real bad men of the world were never quite depicted on the big screen as what they're really capable of. Characters like…
SOME MILD SPOILERS
Now don't get me wrong. I like Martin Scorsese.
But this is one of those occasions where I'm particularly glad that I've not seen the remake. It's not because I'm concerned that it will be crap or anything or because I have anything against remakes. I'm not and I don't.
No, I just naturally struggle to review a film that is a remake of something or has spawned a remake because I personally find it incredibly difficult not to start harping on with a comparison between the two. It's especially difficult when the two films are made in entirely different eras when it comes to censorship and what we are allowed to see and here.
A good thriller that had some surprising vulgarity for a movie of its time, thanks to Robert Mitchum's relentlessly creepy character.
Better than the remake, though if you could somehow blend the two together that would be best. The original is certainly better in terms of acting and characterisation - the aura of dignity and sheer being-in-the-right Gregory Peck naturally projects is a world away from Nick Nolte, while Bowden is actually much more interesting when he's not a perjury-committing adulteror who sort-of asks for it. It makes Max Cady a lot more threatening too - as does Robert Mitchum's sleazy, sinister performance compared to de Niro's slasher movie reject hillbilly thug. And has anything ever been made better by adding Juliette Lewis?
On the other hand Scorcese's panache is missing; under him the film could have been a Gothic fairytale, whereas J. Lee Thompson is - as ever - sturdy, reliable and largely without flair.
What it lacks a bit in style, it thoroughly makes up for in its airtight text and impeccably mounted suspense. And of course there's Robert Mitchum, a man whom I firmly believe should be mentioned in the same breath as Lemmon, Brando, Stewart, Day-Lewis etc. This is how you do villainy. Restrained but buzzing with a ferocious energy, on the verge of exploding. We just dont know when. and then in the final moments of the film, he beautifully grounded his psycho portrayal by momentarily allowing the fear and vulnerability to well up in his eyes. Gregory Peck on the other hand was just plain ordinary to say the least. All round its nicely paced, thoroughly chilling and very almost good enough to be amongst some of the strongest thrillers of its era, which is no mean feat during the 60s.
I had forgotten about the whole egg thing and when it happened I shrieked.
This movie is basically all about Robert Mitchum being the scariest person on the planet, which he was so it works. I'd put this up there with Night of the Hunter if Gregory Peck's Sam Bowden wasn't so terribly dull.
Much scarier than the remake. The threat of rape is palpable and omnipresent and in general the air of violence against women keeps this stomach-churning and shocking over 50 years later. A-
This is an established favourite of mine, as a spare piece of storytelling and an encapsulation of everyday "walkin' down your street" evil; it is a showcase for the sublime crime writing of John D MacDonald. The scene where Mitchum saunters southern style towards the car, where sits the daughter. Contrast this with the overt debasement of the drifter barfly lady. Max Cady covers the full spectrum of nasty.
The see-saw balance, which occurred during this viewing was that as Gregory Peck looks more plasticky and stiff, Mitchum becomes more sinuous and pantherlike. They both feel essential to each other, to make this film what it is. Peck isn't just a sheet of plywood, he has his own glossy persona,…
ROBERT MITCHUM IS THE ILLEST. In this film he's an ox, a toad, a goat, a devil. He moves with the confidence of a man who knows everything he needs to and the ease that comes from mastery. He's both blatant and sly, dogged and detached--for all his obsessiveness, there's an air of indifference that only reinforces his superiority. He's masculine evil and power and beauty and ugliness all congealed together, strutting out of the slime toward us.
Another great performance from Robert Mitchum.
I went into it knowing the story, having seen the Scorsese remake and the simpsons delightful parody and it still surprised me with how satisfying the film was, but also how good Mitchums portrayal is. With Night of the Hunter and Cape Fear he's got to be up there as one of the great 'villainous' actors for having two distinctly impressionable sides of evil. Peck is as unstoppable as ever playing less of a Duel in the Sun and more of a To Kill a Mockingbird role but he keeps an air of badassery that if anything presents him as a man who is less a moral counterpart but equally troubled reflection/shade of Mitchums. The film was surprisingly heavy in…
Originally posted by Co.Create: www.fastcocreate.com/1679472/martin-scorseses-film-school-the-85-films-you-need-to-see-to-know-anything-about-film
Scorsese loves movies, we all know that. So he's got a few lists and they…