Schrei in der Nacht

"A Cry in the Night" starts fast: an idealized fifties couple parked in a convertible at the local Inspiration Point, a conked boyfriend, a kidnapped teenage girl (inevitably, the police captain's daughter). From there it fans out into a number of ideas, most of which wander into the dark and disappear, none of which are delivered with any particular inspiration.

We get the question of personal responsibility and "getting involved" when no one else on the scene responds to Natalie Wood's cries for help- from which the title derives- with anything more than mockery. We get the question of how a monster is made when we meet Raymond Burr's horrific and self-absorbed mother. We get the idea of Natalie Wood, victim, fighting to survive by forging a personal connection with her captor. We get the idea that her home life was another form of captivity. Nonetheless, all we really get is a police chase, and it's a pretty mundane one.

From Raymond Burr, we get an interpretation of an unstable but very human mentally-challenged person that builds in places on Lon Chaney Jr.'s performance in "Of Mice and Men", but is still just an unconvincing sketch. From nearly every one else, we get a lot of scenery-nibbling where chewing is called for: Edmond O'Brien, as the missing girl's father, takes his anger level to about a seven and is always willing to stop and quibble about minor distractions. Natalie Wood does a fine job, but knowing what she had been through personally by this time in her young life makes her character's situation more than a bit painful.

Perhaps fortunately, sexual tension is greatly minimized by the era of the film: it's there, eventually, but a much more overt rape threat might truly have demonized Burr's character and thus done a disservice to people who were already marginalized in society.

Unsurprisingly, the subplot in which the Taggart family problems are brought to light by the ordeal at hand is absurdly simplistic and about as subtle and deft as a sledgehammer.

It all moves briskly enough, and Burr's creepy lair is a plus, along with the exciting situation, but there's a much better film in this material. To see a fairly similar story in far more skilled hands (only a year earlier), check out William Wyler's "The Desperate Hours".

Seeing Raymond Burr as a quirky psychotic takes some getting used to after years as ultra- respectable Perry Mason. Still, he does well in the role, his bulky frame and sad eyes perfect for an overgrown mama's boy. Since Harold (Burr) can't have a normal romantic relationship, he hides in a lover's lane to watch others. Except one night, he panics and kidnaps young Elizabeth (Wood). Now the cops (Donlevy and O'Brien) need to find them before he panics some more.

Actually, the film is about that favorite teen topic of the mid-1950's—bad parenting, e.g. Rebel Without a Cause (1955). Note how loony Harold's problems are blamed on an overbearing mom (Veazie). At the same time, Elizabeth's ducking around lover's lanes is blamed on an over-protective dad (O'Brien), while spinster sister Madge (Lawrence) stands as an older version of what Liz will become thanks to Dad. Both parents' fears appear based on keeping offspring away from the opposite sex, another hot topic of the time. Note too how the script makes clear from the beginning how Liz and her beau Owen (Anderson) are headed for marriage, which makes their petting acceptable to the mores of the time.

The movie itself is an okay suspenser, more like a TV play than a feature film. Still, it's a first- rate cast, including those two old pro's Donlevy and O'Brien, while director Tuttle keeps things moving. Had the movie been made a few years earlier, I suspect its noirish overtones would have replaced teen angst with full-fledged noir.

This little-known sordid shocker played as part of a Natalie Wood homage on TCM. The action is set in Los Angeles, "although it could be any city, your city", intones the voice-over. Yeah, right. Natalie, 18, is abducted from lovers' lane by a voyeur-psycho (Raymond Burr) who slugs her beau (Richard Anderson) and absconds with his car. Her father (Edmond O'Brien) is a police captain who happens to be a sexist, macho, insensitive, over-protective, overbearing, filthy, repulsive S.O.B. and probably a Republican to boot. He is neglectful to his wife and has shouted down his sister into the life of a sterile old maid - a plan he seems to be enacting again with his daughter. He would probably also be a homophobe if he had any notion that such a thing as homosexuals even existed.

The details of police procedure are laughable. The slugged-out beau gets first mistaken for a drunk and put in the drunk tank. When a doctor intervenes and diagnoses a concussion, his story checks out but he still has to contend with the captain's brutality, fatherly possessiveness and attempts at psychological castration.

Meanwhile, through another coincidence, the police stumbles on the abductor's mother - an even more unhealthy version, although living, than "Psychos"'s dead and embalmed mama, which leads to a break in the case. We are asked to believe that those cops - who don't have the slightest element of psychology or know how to raise their own children - immediately associate a missing 32-year-old male living with his possessive mother with a potential sexual psycho who is probably the abductor. They turn out to be right.

Given what Natalie has to put up with at home, one has to wonder if she wouldn't be better off with her abductor for understanding and comfort. She limps through half the movie in a torn-up skirt, thus fulfilling the obligatory prurient cheesecake element for a film of that genre, budget and period.

The climax takes place in a brickworks factory, the dirt and slime being a fitting visual complement to what goes on in the male characters' minds.

David Buttolph's incidental music tries hard to make this sound like "Rebel Without A Cause" but is too generic to make a mark.

The film as a whole is a priceless - if laughable - time capsule of attitudes towards crime, sex, cops, victims, perpetrators and anything and anyone that is slightly out of the ordinary. It's enough to turn any "Momma's boy" into a "pinko commie" or a "psycho"...

Policeman (Edmond O'Brien) hunts down the hulking brute (Raymond Burr) who kidnapped his teenage daughter (Natalie Wood). Had potential to be a sleazy thriller but doesn't live up to it. As for the acting, the special of the day is ham. Raymond Burr channeling Lenny from "Of Mice and Men" will elicit laughter from most viewers. Carol Veazie as his trashy mom is fun to watch. Overweight Edmond O'Brien's turn as the hot-headed thuggish overprotective father is impossible to stop watching. Seems like every scene he has he's grabbing someone and yelling at them. It's not good acting but the movie is much more intriguing when he's on screen. Brian Donlevy spends most of the movie telling his pal O'Brien to go home. For her part, Natalie Wood is lovely to look at and handles herself fine in a weak role. Herb Vigran is good as the comic relief desk sergeant. Somewhat interesting for its glimpse at 1950s' attitudes towards sex, parenting, and mental illness. Ultimately can't be taken seriously enough to work as a thriller and it's not quite over-the-top enough to work as camp. Watchable but nothing special.

Edmund O'Brien is one of my favorite actors. He was able to play cynical and he was able to play tough. And, with his rather ugly mug, he was the perfect film noir hero or anti-hero. However, "A Cry in the Night" is the rarest of films--an Edmund O'Brien film that I did not particularly like--or at least his character. He was, in my opinion, the weakest link in the film.

The film begins with two young lovers (Richard Anderson and Natalie Wood) out at lover's lane when they notice some strange man lurking in the bushes--staring at them. Anderson goes to see who this guy is and sees a much larger and very crazy Raymond Burr--who proceeds to beak the stuffing out of Anderson. And, following this attack, Burr e kidnaps Wood and drags her away to his secret lair. His motivation and character, though not realistic, is pretty cool--and fun to watch unfold throughout the film.

Naturally, the police eventually get involved--especially since Wood turns out to be the daughter of tough cop O'Brien. But, as he's not on duty and this crime strikes close to home, Brian Donlevy plays the detective who is in charge of the case--and I liked his character. But O'Brien--what a rather one-dimensional and annoying guy. He is, at times, almost cartoon-like--with his snarling and growling...and not acting the least bit like a professional. He is, to put it bluntly, pretty annoying.

Overall, the film has some interesting moments and is worth seeing--just don't expect a particularly inspired movie. For fans of noir or O'Brien, it's worth seeing---for all others, it's just a time-passer.