A reign of violence sweeps the screen
Escaped convicts terrorize a suburban family they're holding hostage.
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…
Starts out wonderfully and strongly until the end where it feels as if Wyler suddenly forgets every themes it has been chewing on and focuses on the conclusion which includes the basic American values: own property. Bogart and his friends get end they don't deserve, not that way and it feels as if Wyler leaves them or does worse and pities them but says that they had it coming. It is missing its biting edge even if it has all the elements it needs to reach it. Performances are routine even if Bogart still shines and takes his role to the end with dignity. He is so much better actor (even in his lesser works) and more charismatic than all…
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…
The twist on the hostage scenario is interesting and everything is well done, but the twist also makes it feel a little off. Despite the constant undercurrent of tension we get a lot of scenes outside the house where the world is so much more open than in the confines of the suburban house. It feels like it's on the cusp of something truly great and can't quite fit the pieces together, but what we get is still a very fun and tense film.
good nail biter from master director Wyler
Solid thriller, with Bogart showing he hasn't forgotten how to be a nasty heavy. It's a nuanced performance that gives Griffin depth without making him particularly sympathetic; Frederic March provides a good foil by aking Hilliard vulnerable but not cowardly and the rest of the cast bring something to what on paper are tired off-the-shelf characters. Well-made with a good solid atmosphere, streets ahead of Michael Cimino's self-consciously flashy remake.
I believe the year was 2012 when I first started my trek through Humphrey Bogart's work. Due to my compulsion to view every cinematic interest in chronological order, I rarely get to completely finish the filmography journeys I start. I miss more late entries on actor's filmographies than I would like. The Desperate Hours was one of those late roles I sadly missed, so I was more than excited about finally seeing this film. The Desperate Hours was the second to last film Bogie made, in 1955. Directed by William Wyler, the story follows a group of convicts who take over a suburban family's home, holding the Hillard family hostage while they made a plan to escape police. I am…
Wonderfully exciting movie that seems to have set the template for home invasion movies. A few of the plot points are a little clunky and it is a little repetitive at times but the performances are n point and there is a wonderful sense of space within the house to helps the tension.
Humphrey Bogart’s screen career is nicely bookended by his first great success as a gangster in The Petrified Forest and as a similar villain in his penultimate film The Desperate Hours. His casting in the latter project was an intriguing choice—a thirty-year-old Paul Newman had played the role on Broadway, but the significantly older Bogart served as a more fitting adversary to the man of the house played by Fredric March. The drama unfolds as Bogart and two cronies invade a family’s suburban home and take them hostage. March, as the patriarch, does what he can to give the maximum resistance without serious consequences—it would be too easy to say that Bogart’s Glenn Griffin develops an admiration for him, but…
Historia de secuestros con tintes de cine negro, descafeinada en el guion, pero correcta en todo lo demas.
Tres presos se fugan de una carcel y acaban refugiados en una casa secuestrando a sus habitantes. La historia de este secuestro terminara con la llegada de la novia de uno de ellos para rematar la fuga.
Un guion que peca en exceso de ser correcto, no arriesga a la hora de impartir violencia y mala leche a un conflicto casero que todo es tan formal que diluye la credibilidad del mismo.
El reparto esta bien, sobresaliendo un Hamphrey Bogart en el papel de malo y al mando del grupo asaltante, en el que uno de ellos es hermano y otro un…
An early example of the now quite common 'Home Invasion' genre. Pretty good.
Three escaped convicts hold a typical American family hostage in their home. A tad preposterous in parts, but hey, it's got Bogie. The part of the house was played by the same house that later played the home of Beaver Cleaver. Leave It To Hollywood!
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