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Stimme am Telefon

Originaltitel: The Slender Thread
  • 1965
  • 12
  • 1 Std. 38 Min.
IMDb-BEWERTUNG
7,0/10
2612
IHRE BEWERTUNG
Anne Bancroft and Sidney Poitier in Stimme am Telefon (1965)
College volunteer Alan Dyson is working alone at the crisis center one evening when he receives a telephone call from suicidal caller Inga Dyson.
trailer wiedergeben1:54
1 Video
99+ Fotos
Drama

Der Freiwillige Alan arbeitet eines Abends allein im Krisenzentrum, als er einen Anruf von der selbstmordgefährdeten Anruferin Inga Dyson erhält.Der Freiwillige Alan arbeitet eines Abends allein im Krisenzentrum, als er einen Anruf von der selbstmordgefährdeten Anruferin Inga Dyson erhält.Der Freiwillige Alan arbeitet eines Abends allein im Krisenzentrum, als er einen Anruf von der selbstmordgefährdeten Anruferin Inga Dyson erhält.

  • Regie
    • Sydney Pollack
  • Drehbuch
    • Shana Alexander
    • Stirling Silliphant
  • Hauptbesetzung
    • Sidney Poitier
    • Anne Bancroft
    • Telly Savalas
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,0/10
    2612
    IHRE BEWERTUNG
    • Regie
      • Sydney Pollack
    • Drehbuch
      • Shana Alexander
      • Stirling Silliphant
    • Hauptbesetzung
      • Sidney Poitier
      • Anne Bancroft
      • Telly Savalas
    • 37Benutzerrezensionen
    • 21Kritische Rezensionen
  • Siehe Produktionsinformationen bei IMDbPro
    • Für 2 Oscars nominiert
      • 2 Gewinne & 4 Nominierungen insgesamt

    Videos1

    Official Trailer
    Trailer 1:54
    Official Trailer

    Fotos101

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    Topbesetzung47

    Ändern
    Sidney Poitier
    Sidney Poitier
    • Alan Newell
    Anne Bancroft
    Anne Bancroft
    • Inga Dyson
    Telly Savalas
    Telly Savalas
    • Dr. Joe Coburn
    Steven Hill
    Steven Hill
    • Mark Dyson
    Edward Asner
    Edward Asner
    • Det. Judd Ridley
    Indus Arthur
    Indus Arthur
    • Marian
    Paul Newlan
    Paul Newlan
    • Sgt. Harry Ward
    Dabney Coleman
    Dabney Coleman
    • Charlie
    H.M. Wynant
    H.M. Wynant
    • Doctor Morris
    • (as H.N. Wynant)
    Bob Hoy
    Bob Hoy
    • Patrolman Steve Peters
    • (as Robert Hoy)
    Greg Jarvis
    Greg Jarvis
    • Chris Dyson
    Jason Wingreen
    Jason Wingreen
    • Medical Technician
    Marjorie Nelson
    Marjorie Nelson
    • Mrs. Thomas
    Steven Marlo
    Steven Marlo
    • Arthur Foss
    Thomas Hill
    Thomas Hill
    • Liquor Salesman
    Lane Bradford
    Lane Bradford
    • Al McCardle
    Janet Dudley
    • Edna
    John Napier
    John Napier
    • Dr. Alden Van
    • Regie
      • Sydney Pollack
    • Drehbuch
      • Shana Alexander
      • Stirling Silliphant
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen37

    7,02.6K
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    Empfohlene Bewertungen

    9AlsExGal

    Over 50 years later it keeps you on the edge of your seat..

    ...even if it couldn't be made today, at least the way it was made then.

    It was a terrific suspense movie that had the added benefit of showing Poitier in a totally race-neutral role as young psychology student Alan Newell who is volunteering at the local suicide hotline crisis center on a night that he has every reason to believe will be quiet...and then Inga Dyson (Ann Bancroft) calls him. She has just taken a bottle of barbiturates, does not want to be rescued, but does want to talk. So Alan has to keep his cool and keep Inga on the line long enough to be found, and she only has about 90 minutes to live.

    What makes this movie totally anachronistic today is that the entire plot centers around a coordinated effort by scores of public servants in Seattle to trace Inga's phone number and save her before the pills do their job. Of course it would take about 10 seconds for the line to be traced today, which would kind of do away with the suspense.

    The suspense is that her call COULD be traced, but it requires the huge telephone company building with countless thousands of connecting plugs and wires that had to be narrowed down, plus the police and fire departments and the State Department of Motor Vehicles, in order to locate the caller's number and where she was calling from. It was like a giant public works department that gave employment to pretty much every proactive player we see in the movie.

    In the character development department we have a conversation between Alan an Inga in which we see how she got to the point of despair. It is one part of unforgiveness on her husband's part for a deed done before they were ever married, too much time on Inga's hands one day as the husband continues to stay emotionally detached from her as though she is some unclean thing, the fact that she wanted to talk to somebody about how she felt but could find nobody who would, and the final straw involves the death of an injured bird that is regarded callously by those around her while she tries to help.

    In addition to Poitier and Bancroft, Steven Hill gives a chilling and highly credible performance as the unforgiving husband who's driven Bancroft to her suicide attempt. He's such a creepy character that he makes us almost want to force him to swallow those pills instead, and that's a sign that he plays the part to perfection.

    Highly recommended because the emotions still ring true even if the technology is long gone.
    7lee_eisenberg

    Anne Bancroft, RIP

    I believe that this was Sydney Pollack's directorial debut. If so, then he certainly gave an interesting insight into his future work. Seattle college student Alan Newell (Sidney Poitier) is working at a crisis hotline center when he gets a call from housewife Inge Dyson (Anne Bancroft), who is reaching the breaking point. Because they can't see each other, it gives the movie a real sense of tension, as implied by the title - even if it drags a little bit at times.

    A previous reviewer said that Poitier plays his usual role: a morally superior black man in a white-dominated society. That's partly true, but here, he has a job that anyone could have, and his race doesn't really matter (although as the reviewer noted, they could have been subtly talking about race). As for Anne Bancroft, her death six months ago brings her filmography to mind. This may have not been her most famous role, but I would recommend it.
    8autocrat9

    I should have known. Poitier = Acting 101

    I saw this title coming up on TCM, read the synopsis, and KNEW instantly that this one I had to see. And like I said, I should have known. Poitier is probably one of the top ten dramatic actors of ALL TIME! I'm not sure I've ever seen a bad film that he was in. This little gem, was tremendous. I don't comment on many film's but when I see one I haven't seen before, and it's as good as this one, I can't restrain myself. Watch it when/if you can, and you won't be disappointed! There are many subplots and twists to this film, and it has many fine performances, including Telly Savalas, and Ann Bancroft. There are small parts, for a young Dabney Coleman, and one of Ed Asner's early ones as well. I am a classic movie buff, with over 800 titles in my library, and I simply love it when I come across a new one that I hadn't seen/heard of before. Like I said, Watch this one when/if you can.
    9THX-1138-2

    More of the 1960's unique film style from a lost era.

    I enjoyed the film not only for its taught and gripping story line; but also for the director's imaginative filming technique. The Slender Thread is unique in it's actual "threading" of actors, particularly, who become much bigger in life as their careers flourish. I always enjoy the chance to see an actor/actress before they go on to fame. Stephen Hill is one of those.

    Although not a true film noir; the black and white filming for me adds to the total involvement of the viewer and gives a heightened perspective to the whole cinema outing.

    I suggest the film highly. The interactions between cast are worth the view.
    7Bunuel1976

    THE SLENDER THREAD (Sydney Pollack, 1965) ***

    The late Sydney Pollack tried his hand at several different genres and succeeded in most; since he never demonstrated an individualistic style (for many he was the antithesis of an auteur!), he could adapt himself to virtually anything (and Pollack often set his sights on grand themes) – though the end result would always be somewhat artificial (if undeniably slick) because of the director’s impersonal approach!

    Anyway, for his debut film, he settled on an intimate melodrama – shot on location in glorious black-and-white (incidentally, all his subsequent work would be in color). The plot is simple: Sidney Poitier is a student who works nights at a Seattle Crisis Clinic; on one occasion, a call comes in where a wealthy socialite at the end of her tether (Anne Bancroft) declares she has deliberately overdosed on barbiturates! She phoned not so much because she wanted help but rather so that someone will know of her outcome; Poitier, however, determines to keep her on the line – while he sets in motion a complex operation in order to trace Bancroft’s whereabouts and save her life.

    For about the first third of the film, Bancroft barely appears: we only hear her world-weary voice booming across the room at the clinic, Poitier having switched the call to the loudspeaker; eventually, she starts to let her hair down and, in intermittent flashbacks, we see her movements during the last few days (which boils down to her alienation from familial cords due to a past mistake which has come back to haunt her). While this was certainly a way to do it, I’m baffled as to why we never cut to where Bancroft is now until the last act: consequently, we have to contend with a fair bit of padding during the ‘re-enactments’ (which could have easily been covered via dialogue delivered by the heroine)! That said, I guess it was a conscious decision on Pollack’s part to ‘open up’ the drama (not merely to include other characters – most prominently, Steven Hill as the woman’s husband – but also to utilize a number of exteriors, where he was able to exercise a keen eye for realistic detail).

    Still, the film compels attention despite an essentially contrived central situation: for instance, at this point, it’s best not to go into how Bancroft manages to remain lucid for so long or, even more importantly, why she just doesn’t hang up on Poitier; and what about the plausibility of the latter’s temper-tantrums (to the exasperation of clinic psychiatrist Telly Savalas!) to coerce the woman into reacting, thus hanging on to life in spite of herself? But that’s Hollywood for you…and, in a talky film such as this, the emphasis is on the writing (by Stirling Silliphant) and the acting (Bancroft is typically excellent and Poitier’s contribution, amounting to a variation on his PRESSURE POINT [1962] role, just as good if slightly overstated in the long run). Even so, as a counter-balance to the ongoing histrionics, reasonable suspense – aided by up-to-date methods of detection – is generated throughout by the race-against-time to locate Bancroft.

    At the end of the day, THE SLENDER THREAD emerges as a quite impressive (and generally still powerful) first outing – recalling the gritty work of many a contemporary film-maker who, like Pollack, had emerged from TV.

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    Handlung

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    • Wissenswertes
      This film shows the tedious process in 1965 of what was required in tracing a telephone call on actual central office equipment that was state of the art such as number 5 cross bar and step-by-step electro/mechanical equipment. It was filmed in central offices of the old Northwest Bell Telephone company which as of 2010 is now Century Link. Modern telephone switching equipment can trace a call in less than a minute or even 30 seconds.
    • Patzer
      After Inga attempts suicide by drowning herself in the bay, she arrives at hospital with perfectly styled hair.
    • Zitate

      Mark Dyson: [to Inga] Do you think that not getting caught in a lie is the same as telling the truth?

    • Verbindungen
      Featured in Große Regisseure: The Films of Sydney Pollack (2000)
    • Soundtracks
      Preludium
      Written and Produced by Quincy Jones

      Performed by Quincy Jones

    Top-Auswahl

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    FAQ15

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    Details

    Ändern
    • Erscheinungsdatum
      • 7. April 1966 (Westdeutschland)
    • Herkunftsland
      • Vereinigte Staaten
    • Sprache
      • Englisch
    • Auch bekannt als
      • The Slender Thread
    • Drehorte
      • Seattle, Washington, USA
    • Produktionsfirma
      • Stephen Alexander Productions
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Technische Daten

    Ändern
    • Laufzeit
      • 1 Std. 38 Min.(98 min)
    • Farbe
      • Black and White
    • Sound-Mix
      • Mono
    • Seitenverhältnis
      • 1.85 : 1

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