Tensión

The cast was my main reason in seeing 'Tension'. Richard Basehart, Audrey Totter, Cyd Charisse, William Conrad and Barry Sullivan were all actors of considerable talent and all did fine work in other films of theirs. 'Tension' is also another film that had a very interesting sounding story, and also watched it due to loving mystery and noir-ish films and due to loving classic film. Having seen some very well done films recently in the same genre and similar, there was a lot of high expectations.

High expectations that were mostly met if not exceeded. 'Tension' has a lot to recommend and it is another recently seen film that is rather under-valued. It is though uneven and one half is better than the other, something that has already been picked up to a few. There are better films in the mystery and noir genres, but also worse and in no way should 'Tension' be compared to Hitchcock. Not a fair comparison and something that it was not striving to be.

Am going to begin with the good. Generally, 'Tension' looks good. Particularly the moody and smooth photography and eerie lighting. A young Andre Previn provides a score that gels beautifully with the atmosphere and even enhances it, sounding very ominous and unsettling. While the direction is not exceptional it is at least competent, especially in the first half. The script is intelligent and tightly paced.

On the whole the story absorbs, though it is not consistent. The first half is great, very intriguing and atmospheric without taking too long to set up. The best thing about 'Tension' is the acting, Basehart contrasts his two roles beautifully and with ease and Totter is a smouldering knockout and steals the film. Conrad injects his role with a lot of juice and Charisse is charming despite her character being on the one-dimensional side.

With all that being said, 'Tension' isn't perfect. The second half is not as strong. The tone shift is abrupt and jarring and the storytelling in the second is not as focused or as riveting, could have done with more tension and surprises. The conclusion and the truth are not hard to figure out at all.

For my tastes, Sullivan is on the bland side. Will agree too that some of the rear projection is distractingly fake.

Concluding, pretty impressive. Rough around the edges, but with more than enough to earn a recommendation. 7/10.

Tension is neat little noir thriller from MGM where some of their second line players get a chance to show their stuff without any of the big marquee names to take the audience's attention.

Richard Basehart stars as a meek pharmacist whose wife Audrey Totter has been seeing loudmouthed liquor salesman Lloyd Gough and she's not even keeping it a secret. After Basehart gets slapped around he conceives of a plan to murder Gough involving hthe creation of a second identity. But then at the last minute Basehart can't go through with it. In my favorite scene in the film he tells Gough you can have the tramp, she's your problem now.

But then Gough is killed and the cops Barry Sullivan and William Conrad go looking for the man who doesn't really exist. More I cannot say this one has more twists than your small intestine.

Totter is one nasty slattern of a woman. In contrast to neighbor Cyd Charisse who Basehart has fallen for. But at the moment he and Totter are trapped by circumstances.

Even the detectives aren't quite what they seem. Barry Sullivan has some unique investigative methods that I'm sure the LAPD would not approve of.

You'll like how this one goes down. I'd check it out.

Putting glasses on the very versatile Richard Basehart and sticking him with a drugstore and a faithless trophy wife (Totter) is almost inspired. His Warren Quimby is such a timid, dependent little guy, and when wife Claire thrusts out her ample chest at any well-dressed man who walks by, we feel for the put-upon pharmacist. He's working day and night trying to please her, but she could care less, especially when she hooks up with the flashy Barney Deager (Gough) and rubs Warren's nose in it. Or rather it's Deager who does the nose-rubbing in the sands of his Malibu beach house. Now Warren may be no Clark Kent, but he's finally had enough humiliation, and there is an alter-ego waiting to break out of that timid soul. The alter-ego is named Paul Southern. He doesn't wear a red cape, but he does sport a very unWarren-like checked jacket and no glasses. More importantly, he's got a plan, a nifty plan for revenge on his two tormentors. In the meantime, he's picked up a new girl (Charisse) who admires the forceful Southern style. So now Quimby-Southern is ready for a new life with his new girl once his nifty revenge plan succeeds.

I just wish the second half succeeded as well as this riveting first half. But the focus shifts abruptly over to wise-guy cop Bonnabel (Sullivan) and we lose the compelling thread of humiliation and revenge. It's almost like the script didn't know what to do with Basehart following the Malibu showdown. The remainder of the film plays out in kind of fuzzy, not very believable fashion. It's like a screenplay in two very unequal chapters. The movie is another of Dore Schary's attempts to bring sunny MGM into the post-war world of noir. Like many of the others, the effort here only partially succeeds. There's some good location photography and an excellent cast. However, director Berry adds little to the erratic script, and I'm tempted to say that neither he nor the studio had a feel for this kind of RKO material. Nonetheless, that compelling first half remains.

MGM's Film Noir's may not have been up to par with RKO's during this time period but this is a pretty good film that doesn't actually become a Film Noir until well into the film but it has the look of a Film Noir throughout. Cinematographer Harry Stradling Sr. had a 50 year career in films beginning in the 20's as a young man and up until he died in 1970. Before this he had photographed such films as The Picture of Dorian Gray, Till The Clouds Roll By and had worked on the classic Intermezzo among his many films. He would go on to do A Streetcar Named Desire, Johnny Guitar, Gus & Dolls, My Fair Lady, Funny Girl, Hello Dolly and The Owl & The Pussycat. Director John Berry had made some dramas in the 40's and was really moving into Film Noir with this film. Unfortunately had also just completed a documentary about the blacklisted Hollywood filmmakers that got himself blacklisted and went to Europe to make films before returning to the USA and making some mediocre films. This is the story about a meek and mild mannered night manager of a 24 hour pharmacy/diner who toils 12 hour shifts to save money to make a comfortable life for his gold-digging, fast and loose wife. They are a mismatch who married while he was in the service because she thought he looked cute in his uniform but their life with living above the pharmacy is something she would like to ditch and she finally does. Audrey Totter is your classic femme fatal bad girl in a bullet bra. Richard Basehart is the pharmacist husband with a plan to seek a new identity. Cyd Charise is his new interest and Lloyd Gough is Totter's. Barry Sullivan and William Conrad are the detectives and Tom D'Andrea is the sympathetic late night counter guy. A story by John D. Klorer and screenplay by Allen Rivkin. 21 year old André Previn before he became a noted composer and conductor provides the film's score. I would give this a 7.0 out of 10.

Underrated, somewhat obscure B mystery/noir film about a mousy drugstore manager married to a beautiful woman who uses him and plays the field while he works nights. Things heat up as the woman leaves her husband for another man, he goes to get her, gets beat up by the hulk of a guy she is with, and then he decides he will invent a whole new identity on the weekends and kill him. Richard Basehart does a really good job playing the mild-mannered Warren and then the more realistic Paul Southern. Basehart just doesn't stereotype either role but gives life to each. The director John Berry creates many suspenseful scenes and does all those film noir things we come to expect from a good noir thriller: lots of odd camera angles, excellent use of lighting and shadows, a narrator telling us information after the fact, and a group of players of dubious character. Audrey Totter plays Warren's playful wife to perfection - she really gives the role some depth despite it being so outwardly two-dimensional. The rest of the cast is very effective with Barry Sullivan pulling extra duty as policeman and film narrator doing a very credible job, William Conrad adding humour as his partner, Tom D'Andrea being a voice of reason, and lovely Cyd Charisse as Paul's object of affection. Tension is one of those diamonds in the rough you find when you least expect it. The film doesn't boast a huge budget or marquee stars, but it can hold its weight with many of the films of similar subject matter in its era. Another great plus is the terrific score used throughout by Andre Previn. It almost assumes the role of another character with its ubiquitous presence shadowing the proceedings throughout. If you like good old-fashioned mysteries, then you should not be at all be disappointed with Tension.