Aktueller Stand/Last update: 18/05/2016.
Seit August 2013 präsentiert Daniel Schröckert auf dem Youtube-Kanel der Rocketbeans seine Fernsehtipps des Tages.…
Escaped convicts terrorize a suburban family they're holding hostage.
People in the UK may well be familiar with the episode of Steptoe and Son which is loosely based on this William Wyler classic, but this is a superior film of the 'home invasion' genre, back when homes were safe and people were friendly.
Bogie is on top form as the weary bad guy who pushes his way into the home of uptight Martha Scott, a wife home alone. When her husband (Fredric March) and children return they all become hostages in a tight stand-off.
Bogie's henchmen, a dumb lump and a slick kid, are more like caricatures, but his character (which he described as 'Duke Mantee grown-up') is suitably menacing without being a stock gangster. On this reviewing I've…
You listen to your old man, kid. He knows where it's buttered.
Humphrey Bogart would pass away two years after this film, but even here during the last years of his legendary career he still had "it". Here in his last "tough guy role", Bogey still manages to easily come off as a man you do not fuck with even in this late stage of his life. Famous for playing anti-heroes, he was almost better when he could just go all out and play the heavy as he does here.
Now Bogart portrays Glenn Griffin, a serious bastard that is capable of anything to avoid going back to jail along with his brother Hal (Dewey Martin) and the…
Takes a while to get going, but once it does it manages to sustain an incredible amount of tension, punctuated by unexpected moments of brevity.
Bogart is on menacingly gruff form, but it's Robert Middleton who leaves the biggest impression as the truly odious Kobish.
It's really interesting watching the three groups within the film as they all strive for their own resolutions. From the family held hostage, who slowly become more unified in defeating their captors, the authorities who close in on the cons through good old fashioned detective work, and the villains themselves, who begin to crack under the pressure when the plan goes awry.
I also liked the use of close-ups to convey characters emotions. They're used sparingly, but when they do happen, they are effective.
Perhaps a touch too long, this is nontheless a wonderful example of 1950's film-making.
Why I watched this one? Humphrey Bogart and Frederic March squaring off against seemed like a good movie to watch.
What is this one about? Bogart and two fellow prison escapees break and hold March's family hostage while they prepare an escape plan.
My thoughts on this one? Seems that I have heard about this movie all my life. So I was glad to finally get a chance to see the movie. Bogart's role was based on a role Paul Newman created on Broadway. The same role was played by Mickey Rourke in the movie remake 35 years after this one.
In this one Bogart and March both are good in their roles. Although Bogart looks a little old for…
Under appreciated 50's thriller showcases Humphrey Bogart in one of his final performances playing the leader of a neer do well gang of prison escapees. Seeing a kids bicycle on the lawn (because "people with kids don't take chances") they terrorize a wholesome suburban family. Directed by William Wyler (Ben Hur) and with a screenplay that had already been a book and play, this is for the most part a tight well paced thriller. It lags a bit in its second half but as a whole compares quite favorably to contemporary takes on the home invasion genre.
In 1990 Michael Cimino made a remake of this, and other than a fun turn by Mickey Rourke in the Bogart part, there…
In plot and style The Desperate Hours evokes Huston's superior film, Key Largo . This one focuses more on the characters, whereas Key Largo does that and manages to craft a booming tale of suspense...
Actually, can I just talk about Key Largo ?
Oh... well that's too bad.
A high-concept thriller from the 1950s. Bogart spent a decade in the 30s playing heavies and crooks, culminating in High Sierra, before transforming into the gruff but decent Bogie we all love. Here's he's going back to his roots as a hard-boiled criminal with no redeeming qualities, and he's fantastic. It's The Petrified Forest transplanted to safe suburbia (the same house that was used in Leave It to Beaver). Fredric March holds his own as the cornered patriarch, but throwback Bogie is the main reason to see this one.
While The Desperate Hours is written by Joseph Hayes from both a play AND a novel that he also wrote, it's hard not to see the film and not think, if one has also seen it, the 1936 film The Petrified Forest. Twenty years apart in release, both films feature Humphrey Bogart as a no-nonsense-I'll-kick-your-fucking-teeth-in gangster who is on the run - previously he was Duke Mantee, a bank robber, young and full of vigor - and this time just got out of prison. Both films has the man held up in one location, putting the people he's with at gun-point to do what he says or he'll plug em' full of holes, and all while waiting for a girl to come to pick him up. Always with the dames.
William Wyler, Humphrey Bogart and Frederic March.
Really well done.
Watched on a plane and said ride was especially bumpy during tense moments.
I will abstain from grading.
Nota = 6
Three escaped convicts (lead by Humphrey Bogart) hide in a suburban home taking the family hostage...
This may be the closest movie Bogey ever did to a genre flick. There is not much subtext here (apart from the obvious lower/ upper class theme). It's all about building tension. Especially how Fredric March and Bogart are dealing with each other is fun to watch.
Also kudos to Bogart for returning to the baddie role. I cannot recall any actors from that time period going back this way.
Make or Break Scene: Bogart's character has to realize his flaws.
MVT: The chemistry between Bogart and March.
Score: 7/ 10
Real tension and logical character behaviour.
I appreciate a film that takes the time to develop its characters. You get a genuine sense of what motivates the three or four main players here, and moments that give insight into the supporting cast as well. The police procedural portion (reminiscent of TV's Dragnet) was well-handled and didn't seem dull or unnecessary.
Cf. Lady in a Cage
Wyler and cinematographer Garmes use phenomenally atmospheric cinematography and inventively dynamic direction to give a tense energy to the prison like house that keep the claustrophobic scenario from becoming tedious with its engaging formal brio that opens up the house to a varsity of fractured angles at which Wyler stages the struggle for control and traces the shifting power dynamics. The inside of the house is transformed into a claustrophobic fortress with stark contrasts between the varying degrees of murky shadow that Bogart and his crew dwell in and harsh artificial light that the family seek refuge in.
While the main focus of the film remains inside the house, Wyler maintains the tension even outside of the home through a…
Bill Georgaris of TSPDT has finally decided to start updating his film noir page. This means the old version of…