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IMDbPro

Ransom!

  • 1956
  • Approved
  • 1h 49min
CALIFICACIÓN DE IMDb
7.0/10
2.5 k
TU CALIFICACIÓN
Ransom! (1956)
CrimenDramaDrama psicológicoFilm NoirPoliciaco procesalSuspenso psicológicoThriller

Tras el secuestro del hijo de unos padres adinerados, la policía y un miembro de la prensa intervienen para ayudar a los padres en su búsqueda, pero acaban complicando sus inminentes decisio... Leer todoTras el secuestro del hijo de unos padres adinerados, la policía y un miembro de la prensa intervienen para ayudar a los padres en su búsqueda, pero acaban complicando sus inminentes decisiones.Tras el secuestro del hijo de unos padres adinerados, la policía y un miembro de la prensa intervienen para ayudar a los padres en su búsqueda, pero acaban complicando sus inminentes decisiones.

  • Dirección
    • Alex Segal
  • Guionistas
    • Cyril Hume
    • Richard Maibaum
  • Elenco
    • Glenn Ford
    • Donna Reed
    • Leslie Nielsen
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    7.0/10
    2.5 k
    TU CALIFICACIÓN
    • Dirección
      • Alex Segal
    • Guionistas
      • Cyril Hume
      • Richard Maibaum
    • Elenco
      • Glenn Ford
      • Donna Reed
      • Leslie Nielsen
    • 65Opiniones de los usuarios
    • 15Opiniones de los críticos
  • Ver la información de producción en IMDbPro
  • Ver la información de producción en IMDbPro
  • Fotos27

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    Elenco principal83

    Editar
    Glenn Ford
    Glenn Ford
    • David G. Stannard
    Donna Reed
    Donna Reed
    • Edith Stannard
    Leslie Nielsen
    Leslie Nielsen
    • Charlie Telfer
    Juano Hernandez
    Juano Hernandez
    • Jesse Chapman
    Robert Keith
    Robert Keith
    • Chief Jim Backett
    Richard Gaines
    Richard Gaines
    • Langly
    Mabel Albertson
    Mabel Albertson
    • Mrs. Partridge
    Alexander Scourby
    Alexander Scourby
    • Dr. Paul Y. Gorman
    Bobby Clark
    • Andy Stannard
    Ainslie Pryor
    Ainslie Pryor
    • Al Stannard
    Lori March
    Lori March
    • Elizabeth Stannard
    Robert Burton
    Robert Burton
    • Sheriff Jake Kessing
    Juanita Moore
    Juanita Moore
    • Shirley Lorraine
    Mary Alan Hokanson
    Mary Alan Hokanson
    • Nurse
    Robert J. Stevenson
    Robert J. Stevenson
    • Fred Benson
    • (as Robert Forrest)
    Dick Rich
    Dick Rich
    • Sgt. Wenzel
    Peter Adams
    Peter Adams
    • George Portalis
    • (sin créditos)
    Don Anderson
    Don Anderson
    • Townsman in Crowd
    • (sin créditos)
    • Dirección
      • Alex Segal
    • Guionistas
      • Cyril Hume
      • Richard Maibaum
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios65

    7.02.5K
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    Opiniones destacadas

    8cho cho

    Patriarchy and crackling suspense, 50's-style

    Vacuum-cleaner heir and magnate David G. Stannard (Glenn Ford) is accustomed to getting his way. He will do anything to hold sway over his stuffed-shirt brother under the boardroom-portrait gaze of their late father, the family patriarch. David's marriage to Edith Stannard (Donna Reed) is surface-solid but fissured deep. Will it come apart when their only child, Andy, is kidnapped for ransom?

    For son Andy doesn't return home as expected from school one day. By the time the day is over, David has mobilized all the men who count: the police chief, the family doctor (to watch over the potentially hysterical Edith), his brother and business associates (to assemble the ransom), the technicians who operate the switches at the phone company (to trace the kidnapper's call when it comes). The kidnapper, belatedly by phone, has demanded $500,000. And Edith, helpless woman, has already cracked under the strain and been put to bed, sedated.

    Now David alone must decide what to do. The host of a TV program which David's company sponsors is standing by to go on the air in a white dinner jacket, a pre-arranged signal to the kidnapper that the ransom is ready. But here's a twist--the police chief and even an insouciant reporter who has invaded the Stannard residence (a young Leslie Nielsen) inform David that paying a kidnapper in no way improves the odds for getting the victim back unharmed!

    It just shows potential future kidnappers that crime in fact pays. Criminologically, like begets like. David can strike a blow for fathers everywhere by standing up to the son-stealers of this world and refusing to pay. After a bedside visit to Edith in which he tells her nothing, and after much solitary agony, he appears on the TV show himself with the ransom money spread before him. He says to the kidnapper: Nothing doing. You get not one penny. If you don't free my son, all this will bankroll my unceasing efforts to hunt you down. Will your accomplices be able to resist its lure as bribe or reward for turning you in?

    Now the wait is on. Which way will the kidnapper jump? Will Andy come home to his father or go home to his Maker? Meanwhile, just about everyone around David turns against him. The public. David's brother, with his yes-men. The sheriff. Most of the media. And especially Edith, who wakes up and twigs to what David has chosen to do. Even the police chief, who as much as egged him on, begins to play cover-his-arse. David's only stalwarts turn out to be his Negro (this is the 50's) butler, played by Juano Hernandez, and Charlie Telfer, the reporter, who has found his mettle. And, beyond Chapman's prayerful faith which likens this situation to that of the Biblical David and Absalom, they can't help.

    David Stannard, a master of men, a veritable king, is completely isolated. He is making the gamble of a lifetime. If it pays off, patriarchy will be restored, in the form of a living male heir and possibly a reunited family. If it doesn't ... what?
    6JuguAbraham

    A good, well-designed script

    After viewing the film and reflecting on what made the film tick, my kudos do not go to the actors, who appear to be the backbone of the film, but to a solid script and screenplay.

    For the first half hour the movie seems to be making inane statements about bringing up children. But those early conversations become meaningful after the movie is over as the choices the father makes have much to do with the parallels in teaching the son early lessons in life--"stealing" planks from your parents' bed to make a toyhouse is to be viewed in comparison to "stealing" stockholder wealth to regain personal property.

    At another level, the story is a mirror of Job's dilemma--standing steadfast on principles when all his earthly possessions (including his wife) are being taken away. It is to the credit of the script and the director that the tormentors (the kidnapers) remain unseen and the battle is merely relegated to one man's internal moral turmoil.

    Was Glenn Ford's performance creditable? Yes and no. At the end of the film you tend to think it was a memorable performance. But think of replacing Ford with any good star of the day and the effect could have been much the same, thanks to the script.

    I feel this was a good film because it did not lapse into trivial confrontation with the kidnapers as most contemporary movies do. It was good because the film avoided pitfalls, while adding color to fringe characters by providing them with short punchy lines such as the lines of the school headmistress, the journalists, the ice-cream vendor, the pedestrian who wonders how speeding police cars don't get tickets, and last but not least the Afro-american butler.
    9Ishallwearpurple

    Taken out of the headlines----

    This film was more or less taken from a famous midwest case of a boy kidnapped from a rich auto dealer's family in K. C., Mo. He was taken from a private school by a woman in a nurses uniform and the press in K. C. did hold off on the story until the ransom had been paid. The kidnappers were caught within 4 days, and the little boys body was found soon after. He had been killed the day he was kidnapped.

    Now to the film. The point of the story is that it is 50-50 whether you get the victim back or not. Glenn Ford as the father who makes his decision to not pay but offer the whole ransom as a bounty on the kidnappers head, was very pertinent in 1956. There had been other cases like this, but the K.C. case was so brutal that it made headlines all over America for months.

    As a woman who is old enough to have read about the case, and seen it on the new medium of TV for months, while it was going on, this film is heartbreaking and to me, almost perfect.

    The mother and father and their anguish, the servants, who love the family, and the police and other people who interact with the family, and the company people, all are first rate. It is a slice of life as lived in an affluent mid-American family crisis, and all the principle actors are fine. The criticism I have read here does not stand up because the film is a thoughtful and serious look at a dilemma and not a flashy showcase for action fans. 9/10
    8MarieGabrielle

    A new respect for Glenn Ford...

    I had seen him in the Big Heat and while it was an admirable performance, seemed a bit wooden. Not so in this film. Ford gives many dimensions to a man in conflict and trauma, he is multi-faceted and really the focus of the film.

    The film was based on a true crime committed in the 1950's. Ford's son is kidnapped by someone posing as a nurse, removing his child from school. A wealthy man, Ford questions the efficacy of paying a ransom- why pay? he asks.

    Donna Reed as his wife is acceptable but at the start of the film a bit too perky and perfect. There is a nice sub-plot with Juano Hernanadez, the family butler, who looks after Ford and prays for him; trying to help him survive the horrific events.

    I had seen the new version with Rene Russo and Mel Gibson. It is a pale version; the new version is all glitz and no substance. Ford draws the audience into his despair, and we truly care about the outcome of these characters. There is no mindless action, violence as there is in the Gibson movie.

    Highly recommended. 8/10.
    8thinker1691

    " No you are not a bad son, I should have been a better Father "

    This story was based on a real life crime. First seen on Live T.V during 'The U.S. Steel Hour,' in 1954, as 'Fatefull Decision.' It was eventually re-staged in 1955 for the small screen, then further replicated in 1956 and lastly in 1996 by Ron Howard for the Big screen with Mel Gibson. Watching it for the first time, then comparing it with the newest version, I found, I enjoyed the older version better. Don't get me wrong, I am a great fan of Mel Gibson, but I believe Glenn Ford was better fitted for the role. The Movie was in Black and White and called simply " Ransom. " The early imagery, stark shadowy profiles and Fords immense skills as a bone-fide actor made for an intense situation and the heavy dramatic part of Donna Reed assured it would become a Classic. Indeed, with the added exceptional talents of Leslie Nielsen, Robert Keith, Bobby Clark and Alexander Scourby, this movie was crafted with real movie magic. Easily Recommended. ****

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    Argumento

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    • Trivia
      Film debuts of Leslie Nielsen and Lori March.
    • Errores
      (at around 12 mins) Mrs. Stannard waits for her husband to return from work and son from school by playing the piano near the front window. She hears a vehicle in the drive and lifts her left wrist to look at her watch; however, the music from the piano continues with the part for both hands.
    • Citas

      [last lines]

      Jesse Chapman: [when the Stannards' son is discovered to be alive] "This my son was dead and is alive again; he was lost, and is found!"

      [the quote from St. Luke, Chapter 15, Verse 24]

    • Versiones alternativas
      There is an alternate colorized version.
    • Conexiones
      Featured in MGM Parade: Episode #1.18 (1956)

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    Preguntas Frecuentes

    • How long is Ransom!?Con tecnología de Alexa

    Detalles

    Editar
    • Fecha de lanzamiento
      • 27 de agosto de 1956 (Suecia)
    • País de origen
      • Estados Unidos
    • Idioma
      • Inglés
    • También se conoce como
      • Rescate
    • Locaciones de filmación
      • Westwood, Los Ángeles, California, Estados Unidos(2 motocycle cops shown after Dave calls the police chief - note Westwood Village and Bullock's Dept. store in the background)
    • Productora
      • Loew's
    • Ver más créditos de la compañía en IMDbPro

    Taquilla

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    • Presupuesto
      • USD 1,003,000 (estimado)
    Ver la información detallada de la taquilla en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      1 hora 49 minutos
    • Color
      • Black and White
    • Relación de aspecto
      • 1.37 : 1

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