Coventry I purchased the DVD of "The Desperate Hours" many years ago, I think right after I saw the Michael Cimino 1990 remake, but then I completely forgot about it. Recently I was reminded of the film again after seeing the low-keyed and obscure thriller/drama "The Shadow on the Window". That film came out in 1957, two years after "The Desperate Hours" and unmistakably borrowed many ideas, scenes and character specifications from this film. It's based on a Broadway Play, like so many movies from the fifties that are considered to be great classics. The list is nearly endless and truly versatile in terms of genres as well, like "A Streetcar Named Desire", "Dial M for Murder", "Cat on a Hot Tin Roof" and even "The Bad Seed". I think this is a prototype example of a simple and straightforward film that is only catapulted into the league of cinematic classics thanks to the stellar performances of the ensemble cast; and the two giant male lead stars in particular. William Wyler was a genius director and his work here is definitely competent as well, but you can't deny the direction often feels routine and mechanical. The plot is powerful as well, what with its themes of terror and paranoia lurking beneath the foundations of the typical American dream-family, but the scenario is never groundbreaking or controversial. No, instead, the true difference is made by each and every single one of the players. Humphrey Bogart masterfully returns to the type of character that he depicted repeatedly in the 1930s: a villain without redeeming features whatsoever. Bogart stated afterwards that he was too old for the role, and he may be right, but that doesn't keep him from giving away another unsurpassable performance. It may sound like a cliché, but actors of his caliber simply don't exist anymore nowadays. Speaking of clichés, Frederic March's character – the protective father – is very stereotypical, but he also manages to put down a monumental performance. It's not easy standing in the shadows of Bogart and March, and therefore I simply must also give a lot of separate praise to the rest of the cast. Dewey Martin and Robert Middleton are excellent as the accomplices, and I particularly wished to see more psychopathic outbursts of Middleton's character Kobish. Martha Scott is also memorable as the petrified mother and even the seemingly miscast Gig Young is more than adequate.

jpdoherty One of the last of the great film noirs came in 1955 in the shape of THE DESPERATE HOURS. Although it was filmed in Paramount's own widescreen process of Vista Vision it at once established itself and maintained its arresting noir look through its stylish use of black and white cinematography - courtesy of the great Lee Garmes - and masterful direction of William Wyler. Adapted by Joseph Hayes from his novel and play the picture also boasts a terrific cast headed by Humphrey Bogart, Fredric March and Arthur Kennedy. With a nod to his Duke Mantee in "The Petrified Forest" (1936) Bogart, in his next to last film, is superb in the kind of role he knew so well, that of the hard boiled criminal.Three escaped and armed convicts, led by notorious Glenn Griffin (Bogart), take over a house in middle class suburbia and hold the Hilliard family at gunpoint until the mail arrives the following day containing their getaway money. In the meantime the terrorized family must carry on with their everyday routine without arousing anyone's suspicions. With the police hotly on the gang's trail and closing in - the family little by little - begin to make attempts to outwit their unwelcome guests, gain the upper hand and thwart their plans. After two of the convicts are shot dead by the police the picture ends in a stunning sequence with the husband (March) confronting and fooling Griffin with an empty gun before the police marksmen, under huge arc lights, gun him down in a hail of gunfire in Hilliard's own front lawn.Thanks to Wyler's adroit direction, his genius for camera angles and set-ups, brilliant crisp cinematography and great performances THE DESPERATE HOURS is more than a neat little thriller. Suspense is maintained throughout at a very high level. Wyler's film proceeds with commendable energy and intensity. Mesmerizing is Bogart as the unshaven dishevelled sneering and dangerous leader of the three fugitives. His Glenn Griffin is one of his great and most underrated performances and should have at least earned him a nomination. Excellent too is the wonderful Fredric March as the beleaguered husband and father Dan Hilliard (Spencer Tracy was originally slated to play this part but neither he nor Bogart would accept second billing). Also good is Martha Scott (Judah Ben Hur's mother in Wyler's 1959 epic) as the wife and mother, the likable and ill-fated Gig Young as the boyfriend of Hilliard's daughter (played by pretty Mary Murphy). And there's an extraordinary performance from the rotund Robert Middleton as Kobish the violent, unscrupulous and giggling puerile convict.One disappointing aspect of the picture though is the sparse music score by composer Gail Kubik! There is an impressive raw pounding theme over the titles but no more music is heard then until towards the end of the picture. Kubik, a noted conductor, violinist and teacher was more akin to scoring shorts and documentaries and had scored only one other feature "C-Man" in 1949. It is quite extraordinary that Wyler didn't use a more established movie composer. He had always made great use of music in his films i.e. Max Steiner for "Jezebel" (1938), Alfred Newman for "Wuthering Heights" (1939), Hugo Friedhofer for "Best Years Of Our Lives" (1946) and of course later with Jerome Moross for "The Big Country" (1958) and Miklos Rozsa for "Ben Hur" (1959). THE DESPERATE HOURS must be Wyler's shortest and least involving score. However the minimalist score not withstanding his DESPERATE HOURS remains a stunning evocation of the best that ever there was in crime movies. Taking the picture's main premise Michael Comino remade the movie in 1990. It was a valiant effort spoiled by the excessive and over stylized performance by the irritating Mickey Rourke in the Bogart role - diminishing the fine portrayals of Anthony Hopkins as the husband and the excellent characterization by David Morse in the Kobish role. Ultimately though the picture, lacking the required tension and atmosphere, was little more than a pale imitation of the original.

kellyadmirer In the 1950s, Hollywood was bound by the Hayes Code and the iron-clad rule that Crime Does Not Pay. There was very little wriggle room, however much the audience might want it and movie executives might want to cater to that desire. So, in pretty much every gangster film, you know who is going to win in the end. That isn't giving anything away.But that didn't keep Hollywood from giving nods to what many people wanted to see - a movie in which the audience is given some affirmation about the dangers of criminals - or of the police. It's subtle, but "The Desperate Hours" is full of those nuances.The plot is very simple - three escaped convicts, led by Humphrey Bogart, have escaped from prison, killing a guard and taking his gun in the process, and the manhunt is on. The killers need somewhere to crash for a while until they tie up some loose ends. They choose the most normal-looking suburban house they can find and take the family hostage.Given the rules of the game, we know how the film has to end. What makes a film like this stand out are the performances and the complications along the way. The performances are superb, especially Bogart and Fredric March as the hostages' family patriarch. Overall, everything is done in a very civilized manner, and the gang's fate is determined largely by their own choices.The interesting part to me, though, is the attitude displayed toward the police. They in many ways are portrayed as being as dangerous to the family as the criminals, in fact, in some ways more so. March and family have many opportunities to contact the police and get them involved, but it seems so obvious to everybody that this is a bad idea that Bogart practically dares the hostages to do so. But nobody does. Why not? There's where the film's interesting psychology comes into play - the police apparently are viewed by everybody, criminals and hostages alike, as dangerous intruders into the situation. This is displayed most pointedly toward the end, where March has to fight to maintain control of the situation to protect his family after the police get involved and, just as Bogart has warned, have set up machine guns across the street and seem insufficiently concerned about the family's fate. It is almost as if the cops are just another gang to avoid if at all possible.Things get very dicey for the hostages only because of the police involvement, because their priorities differed. The police wanted the criminals captured - the hostages simply wanted the criminals to leave. One could argue that the police were necessary to resolve the situation - but maybe not. An interesting situation, of the kind that kept gangster films interesting.Bogart displays such cool intelligence and leadership that it is easy to wonder why he wound up a criminal in the first place. If he has a weakness, it is over-confidence. Staying in the same house for so long seems like a strange choice, especially given the claustrophobic portrayal of this "normal" 1950s neighborhood, with its intrusive neighbors and nosy family friends. But traveling on the open road with everybody watching didn't seem that appealing an option, either.Crime doesn't pay! Bogart's final decision, suicide by cop, seems to sum that up. A fine film that gives an interesting look into 1950s psychology.

Daniel Kincaid "The Desperate Hours" first introduces a typical 1950s nuclear family before their home is invaded by three gangsters hiding from the police. From there the film chronicles the tensions in the invaded home and the police search to find the gangsters.Humphrey Bogart reprises his role as "tough guy" with his usual skill as the leader of the gangsters. Federic March's talents aren't on display as often as the father of the family, but his performance near the end talking to the sheriff and entering the house was excellent. Robert Middleton developed an interesting character in the feebleminded and boorish Sam Kobish and the supporting performances are fine as well.This film does have some moments of tension and it is effective in developing a sense of paranoia amongst the gangsters near the end. The story on the whole is nothing profound, though, and makes this a less than interesting crime thriller. However, the ending is very well-developed with tension and the final moments with Bogart and March were gripping. Personally I found "The Petrified Forest" (1936) to be a much more interesting iteration of the "hostage situation" style of film with Bogart as a gangster.