durififichezleshommes if we call this artwork, Film, so what we have to call these recent movies? what this movie has that others has not? the answer is Form and content. this movie all made in a police quarter. its all happen there. the movie based on Characterizations. each character has individual spirit . the story comes out from the characters. that is the cinema. it means story is character and character means story. that is the key pro of this film. other thing that we cant find in recent movies( specially we cant find nearly from 1980 up to now) is evolution of character. it means character in the point of A must have differences from point B. for example kark douglas in the beginning of film is different from the kirk douglas in the end of film. its is not just kirk, all the characters have evolution process. God bless william wyler the great.

PWNYCNY What is someone supposed to do when he realizes that he has been living a lie? That everything he values is a fraud? These are the questions that this story raises. Kirk Douglas gives another incredibly strong and compelling performance, this time as a police detective whose arrogance and pride blocks him from realizing the realities and shortcomings of his own life. The story is a tragedy. The principle character has many virtues but is brought down by his character flaws. He is on a personal crusade, not knowing, or refusing to acknowledge, the real target of his scorn. To face the truth would mean to question the purpose of his life, and whether his life his worth living. The production is stagy, the story a little contrived, but Kirk Douglas and the rest of the cast, including Eleanor Parker, manage to transcend those limitations and deliver performances that galvanize the story and keep the audience engaged. This movie is outstanding.

m10001 William Wyler brings his famous sensitivity to this film adaptation of a successful Broadway play of the time. The mores around 1950 are so different from ours, that the main conflict seems overwrought in 2015. Lee Grant debuts in a role so utterly unlike what she played in the rest of her career. If you look carefully at the supporting players, you'll see actors you remember from great TV and high-end movies performances in the 1970s. This movie was made before the inundation of cop shows we have to day, and those tropes look fresh here. Eleanor Parker gives a great performance that will not remind you in any way of the Duchess in The Sound of Music. William Bendix plays a tough cop straight-- not for laughs in any way. Frank Faylen (Dobie Gillis's TV father and the cab driver in It's a Wonderful Life) gives a refreshing turn as a detective.

eigaeye It is a testament to the directorial versatility of William Wyler that he could make both a film like 'Ben-Hur', with its grand spectacle, and 'Detective Story', an adaptation of a stage play in which most of the action is conducted within one room of a New York police station. This is a fine film, that never seems stage-bound. How Wyler achieves this is something of a miracle. You hardly notice his camera, you are so absorbed in the human dramas. The story revolves around a crusading detective who seems intent on driving all the evil out of the world single-handedly. He is incorruptible, handsome, witty – and heartless and self-destructive. The story spans a single day in which he seems about to bring off a long-hoped-for arrest, until a family secret and a cunning lawyer cut the legs from under him. The story builds to a terrific climax. Several sub-plots are kept running simultaneously, as various suspects are brought into the station under arrest, but the scenario will cleverly knit these characters together. Kirk Douglas is excellent in the lead role, as is Eleanor Parker playing his wife. But the whole cast should stand and take a bow. Sixty years on, 'Detective Story' still packs a punch.