Time Without Pity

Michael Redgrave plays David Graham, the alcoholic father of a young man (Alec McCowen) on death row in "Time Without Pity" from 1957. The film also stars Ann Todd, Leo McKern, Peter Cushing, Paul Daneman, Lois Harker, Joan Plowright, and Renee Houston.

Graham's son Alec is accused of killing a young woman. David was not around for the trial, due to a stint in rehab (which doesn't seem to have taken). Alec is very hostile to him now.

Meanwhile, Alec's surrogate family, the Stanfords (McKern, Todd, and Daneman) are at odds - Mr. Stanford wants nothing to do with the case or Alec, where his wife and son want to help. It seems to David that everyone is keeping secrets, and he has to find out what they are before his son is hanged.

Okay film but by today's more subtle acting standards, way over the top in some cases. Michael Redgrave is wonderful, desperate, fighting for his son's life as he battles his habit. Leo McKern, a magnificent character actor best known as Rumpole of the Bailey, yells his way through his role. He's in good company with the loud, overdramatic music. Ann Todd gives a lovely performance.

There are a couple of jarring editing mistakes you won't miss.

Michael Redgrave, the head of a great acting dynasty of children and grandchildren, is always worth seeing. See it for him.

Time Without Pity is directed by Joseph Losey and adapted to screenplay by Ben Barzman from the Emlyn Williams play Someone Waiting. It stars Michael Redgrave, Ann Todd, Leo McKern, Paul Daneman, Peter Cushing, Alec McCowen, Renee Houston and Lois Maxwell. Music is by Tristram Cary and cinematography by Freddie Francis.

David Graham (Redgrave) is a recovering alcoholic who comes out of the sanitarium to try and prove his son is innocent of murder. His son, Alec (McCowen), is to be hanged in 24 hours for the slaying of his girlfriend. David finds he is constantly met with brick walls and his sobriety is tested at every turn, but salvation may lie with the suspicious Stanford family...

Blacklisted in America, Joseph Losey went to the UK and made a number of films under various pseudonyms, Time Without Pity marked the first time he would put his own name to the production. It's also a film that stands tall as another of Losey's excellent British offerings.

Losey and his team do not make a murder mystery, from the off we see who the killer is and it's not young Alec Graham. This is a device that in the wrong hands has often over the years proved costly, where viewers looking for suspense have been sorely short changed. What happens here is that we are privy to an investigation by a man in misery, battling his demons as he frantically searches for redemption.

Tick Tock. Tick Tock.

Shunned by his estranged son, who would rather be hanged for a crime he didn't commit than accept his "waster" father's help - that might in turn give him false hope, David Graham is a haunted being who is closer to solving the case than he knows. This brings us viewers tantalisingly into the play, we know who it is, we can see how they react around David and how the other players who are hiding something also behave from scene to scene. The script never looses focus, it constantly keeps a grip on the tension as the clock ticks down on the Graham's.

Tick Tock. Tick Tock.

Losey and the great Freddie Francis are a dream pairing, a meeting of minds who could produce striking lighting compositions and scenes of other worldly distinction. Time Without Pity is full of such film making smarts. Time is a key, obviously, clocks feature constantly, including one classic era film noir extended scene as David visits a potential witness who has her home filled with alarm clocks! Alarm clocks that keep going off at regular intervals, thus putting an already twitchy and sweaty David Graham further on the edge of his nerves.

Tick Tock. Tick Tock.

One scene enforces that on the page there's an anti-capital punishment message, but as a bunch of suits sit in a room digressing about the ethics of it all etc, Losey and Francis fill the room with stripped shadows filtered via the lead patterned windows, it's that what you remember, not a social message. Gorgeous and potent all in one. Mirrors feature as well, with one elevator shot superb, while the bittersweet ending deserves better credit than it got at the time of release. Certainly noir lovers will enjoy it as much as they enjoy some other kinks in the story narrative.

Over the top of it all is a brilliant musical score by Tristram Cary (all his 50s work is worth checking out), three years before Herrmann brought bloodied strings to Psycho, Cary deals from an earlier deck of cards with string menace supreme, while his ticking clock motif is a pearler. Redgrave is terrific, a sweaty mass of fragility, while Todd, Cushing and Houston (wonderful) bring class to their respective characters. Losey's misstep is in not reigning in McKern, who is way too animated throughout, but such is the strength of everything elsewhere, it can't hurt the picture at all. Oh and look out for future Miss. Moneypenny Lois Maxwell, the little minx.

Now widely available on DVD with a good print, Time Without Pity demands to be better known. 9/10

Jenny Cole is killed and her drunken boyfriend Alec Graham is set to hang for it. His attorney Jeremy Clayton (Peter Cushing) picks up his recovering alcoholic father David Graham (Michael Redgrave) from the airport. He had been away in rehab in Canada. He has less than 24 hours to clear his son's name and stop the execution.

I like the mystery premise but I would give the man more time. It's a little too convenient to give him less than a day to solve a case which probably lasted months if not years. It's too little time to solve the case in a believable way. It would also help to not show Robert Stanford's face in the opening. That takes away from a possible compelling mystery. I do like the progression of the plot and its final conclusion. The acting is great although Leo McKern goes overboard sometimes. This is terrific.

A bizarre psychogram of a series of characters, all of whom are disturbed in their own manner. Losey delineates the characters through a series of images which are so effective because they're so simple.

A cheap B-movie. The choppy dramaturgy and editing, viewed from today's perspective, conveys a nervousness and an intensity to the film that was probably lost on a 50's audience. No happy end, but a just and noble one.

Exiled from the USA because of the blacklist Joseph Losey did some of his best work in the United Kingdom and he has a really good thriller here. Not much of a mystery other than the question is why couldn't the police see who it was in the first place.

Young Alec McCowen is now on death row after his girlfriend was found strangled to death in her family's home where he had been spending the weekend. Like father like son, Michael Redgrave an alcoholic writer who has been living in Canada comes back to the UK to visit with his son now on death row. He's been convicted of her death and was too drunk at the time to offer any meaningful evidence in his defense.

It was at Leo McKern's home where the deed was done. He's a foulmouthed ill tempered automobile manufacturer who terrorizes his family like wife Ann Todd and son Paul Daneman who is McCowen's best friend. He's also a bit unbalanced and everyone around him is afraid.

The real suspense is in Redgrave battling his own demons and not returning to the bottle. The pressure to do so is great, but Redgrave summons up enough strength to resist. It's a masterful very subtly cerebral type performance. He and McKern take the acting honors.

For fans of Redgrave and McKern this is a must.