Die dritte Dimension

Weirdest cast ever. Sophia Loren, Gig Young, Tony Perkins. After an airplance accident, the husband who survived the crash (Perkins) stays out of sight, and wants to collect the life insurance policy, with the help of his wife (Loren). They both think it's the perfect crime, but there are still some surprises to come. And the wife's new boyfriend (Young) begins to suspect that something strange is going on. Can everyone hold it together until they collect the cash? And what happens after that?? Directed by Anatole Litvak; he had already been nominated for two oscars. Story by André Versini. Moves a little slow by modern standards, but the story is pretty solid.

You would think that any thriller beginning with Sophia Loren doing the Twist in a Paris nightclub couldn't be all bad! Unfortunately, the plot mechanisms (and red herrings) of "Five Miles to Midnight" nearly defeat Loren, very good as the put-upon wife of a neurotic who has sneakily walked away from a plane crash, hoping to collect on his flight insurance worth $120,000. Anthony Perkins, more nervous and fey than ever, continually bites his fingernail, his face twitching in possessive jealousy, while we in the audience wait in agony for Loren to come to her senses and put him out of his misery. It's hard to determine which element of the picture is more inappropriate: Perkins' icky Norman Bates-isms, Gig Young's leering, Cheshire Cat-like performance as an ex-detective-turned-newspaper man, or Mikis Theodorakis' insanely 'Parisienne' background music. ** from ****

Anthony Perkins is not exactly the abusive husband type (especially to an ever-beautiful Sophia Loren). Add to it the plot elements of master-minding an insurance fraud, and the odds of good-natured Perkins pulling it off become immeasurable.

The sole survivor of a plane crash, Perkins was fortunate to have taken out a special insurance policy (even if the odds of dying in a crash were 1 in 1,000,000). Good wife Loren, already prepared for widowhood by the "news", gets a good shock when Perkins shows up, pressuring Loren to play along with the hoax to collect the insurance money.

Although the ending is somewhat of a surprise, the time spent getting there seems like an endless and tiresome walk through the woods, only to arrive at a run down greasy spoon as a reward. Without any frills or glamour, even shot in b&w, this is a less than average vehicle for either of the stars. Look for a young Tommy Norden (of TV's "Flipper" Fame) in a minor role. Otherwise, skip it altogether!**

The evocative opening scene of Five Miles Before Midnight held promise. I anticipated a moody piece of film noir with an intriguing female lead rather than the usual male. I was also hoping for more of Jean Pierre Aumont, who distinguishes any film he's in, but his role was little more than a cameo. However Sophia Loren, though lovely to look at, does not yet have the dramatic punch to carry off this role, or perhaps she only required better direction. There was ambiguity suggested about how faithful she was to husband Tony Perkins and this could have been put over nicely with a more well seasoned performance. Perhaps it was simply their pairing together--I didn't think they possessed any chemistry. It's hard to believe she ever found anything attractive about Perkins well established immaturity. What woman would? In any case, she doesn't breathe enough life into her character of put-upon housewife and near the film's conclusion, she goes overboard in a frankly unbelievable personality transformation. Also, the "surprise" ending was no surprise to this reviewer, who wonders why she didn't see the obvious way out of her troubles much earlier. It is however, an entirely watchable film and one of those that you kind of like to poke fun at. Certainly there are worse films out there!

"Five Miles To Midnight" is a thriller with very few thrills. It does, however, offer some redeeming qualities which make it worthwhile for select viewers. Unlike many of the reviews posted here, I don't think the film is miscast. Anthony Perkins may not fit the description of a physical brute, but his persistent neediness is just as controlling and abusive. Creating such an unlikeable character is a complete reversal of Norman Bates, who was so endearing you almost wanted him to get away with murder. Sophia Loren not only looks beautiful, but turns in a fine, convincing performance. Remember, English is not her first language, yet her phrasing and tone are utterly real, as are her reactions. No surprise that she was awarded a Best Actress Oscar two years previously. The Paris we see here is not a postcard view, but rather a seedier image captured in stark black and white photography. The fault with this film is the script, which is lazy and weak and squanders an intriguing premise. "Five Miles To Midnight" is still worth a look.