Opiniones de usuarios

In a hot summer holiday, the incapacitated Mrs. Cornelia Hilyard (Olivia de Havilland), who broke the hip a few months ago, gets trapped alone in her private elevator in her huge house during an electricity failure. An old wino beggar is attracted by the alarm in the alley and decides to robber the house helped by Sade (Ann Sothern), a fat hustler. Meanwhile, a dangerous gang of punks leaded by Randall (James Caan) invades the house and decides to eliminate all the witness after the robbery.

I have never heard any reference about "Lady in a Cage", but I decided to buy the just-released DVD and I do not regret. I found a tense, unpleasant, claustrophobic, sadistic and scary urban tale, with outstanding and impressive performance of James Caan. The story shows the lack of attention and sympathy of the urban populations, the violence of criminals against their victims and it is very ahead of time for a 1964 movie. I recalled the also claustrophobic and excellent 1955 "The Desperate Hours", but "Lady in a Cage" is more realistic, frightening and brutal, and has not aged. My vote is eight.

Title (Brazil): "A Dama Enjaulada" ("The Lady Caged")

Excellent drama concerning 3 psychotic hooligans, a drunk, a hustler, and a fence and his gang all vying for a house full of booty. The terrified home owner is trapped and must try to survive the onslaught as well as keep her sanity. Highly emotional presentation with great acting by the 3 young thugs, particularly Caan's bit as the insane pack leader. A must see.

Olivia de Havilland is a "Lady in a Cage" in this 1964 film also starring Ann Sothern, James Caan (in his debut), Jennifer Billingsley, Rafael Campos, and Scatman Crothers. de Havilland is an elegant, wealthy poetess who is recovering from a broken hip and is dependent on an elevator in the house - one of those European types that looks like a birdcage. After her son Malcolm has left for the weekend, an accident outside knocks out the power as she is going upstairs in the elevator. Though she hits an outside alarm, no one who can help hears it. The only ones that hear it? Any thief within a 5-mile radius. A homeless alcoholic (Jeff Corey) is first on the scene; he steals a toaster and alerts a cheap hustler, Sade (Ann Sothern, who resembles Suzanne Pleshette in this film). However, they're no match for the next bunch, played by James Caan, Jennifer Billingsley, and Rafael Campos, who seem like early Mansonites and decide everything is theirs. (Later a third group shows up, and they're the toughest yet.) All the while, the lady of the house sits in the elevator, powerless to do anything about the destruction around her.

This is a harrowing movie, very '60s in its music and the messages are familiar: the urban jungle, druggies, man's inhumanity to man, people not stopping to help, putting themselves and their own agendas first. The de Havilland character is driven to drastic measures - the movie will glue you to your TV set.

The beautiful de Havilland is excellent - as she always is - as the trapped woman who not only has to deal with enemies at the gate but the fact that one of the crooks finds an accusatory note from her son which ends with a suicide threat - and she has no idea there was a problem. "He sounds gay," one of them (Campos) says. James Caan is appropriately frightening, and so hairy it looks as if hair was taped onto his body. Jennifer Billingsley is good as his whacked out, drug-laden girlfriend. Sothern's story has a big continuity hole; it's never resolved. It's always a treat to see her in anything, and she plays this down and out loser very well.

Without de Havilland, this would have been a fairly lousy movie; with her, I think it's a cut above the horror films of other aging, classic film actresses like Crawford and Davis. If there is one thing de Havilland can always bring to a role besides great acting - and I write in the present tense because she's still alive - it's refinement, beauty, and class. Let's hope there's still a role she will agree to play.

The presence of big-name Hollywood stars does not guise the fact that this is one of the most flagrant mainstream movies of the 1960s. Surprisingly professional treatment is applied to the very sordid thrills at hand, most notably in the leads' performances which range from entirely believable to wonderfully unrestrained. Exceptional, also, is the film's score which erupts occasionally into a semi-experimental, wild beat-jazz type of noise(particularly effective in punctuating the cool opening credits, an interesting Saul Bass-inspired merging of film and frozen shots with linear animation). I can only imagine how some viewers must have reacted to this at the time it was released...a grimy urban nightmare with implied taboo sex, doped-up punks, and some highly disconcerting graphic violence and cruelty for the time.

Many of the most cherished leading ladies of Old Hollywood's glory days turned up in very lurid lo-budge vehicles during the 60s, and LIAC would be exemplary of that trend for its inclusion of DeHavilland and Sothern. Both actresses are in top-form here, and their professionalism veils somewhat the meretricious nature of the material(DeHavilland an urbane, mollycoddling mother sidelined by an injury who becomes trapped between floors in her home elevator, and Sothern a wearied but soft-hearted cyprian/burglar taking sheepish advantage of DeHavilland's perdition). Making a memorably heady debut is James Caan(channeling Brando), in his joyously immoderate portrayal of a sociopathic and frighteningly cunning young criminal who strikes terror into the heart of helpless DeHavilland. As he gradually comes to understand this woman's patrician, maternal nature, a very personal and pitiable hostility ignites within him. She is the embodiment of all the love and nurture he's been denied throughout his tragic life, and this becomes his chance to settle the score.

Classic must-see stuff for fans of singular 1960s B films within a vague realm which might include WHO KILLED TEDDY BEAR, WHAT EVER HAPPENED TO BABY JANE, THE NAKED KISS, and BUNNY LAKE IS MISSING.

8/10

Thriller has some contrivances but also enough touches of reality to make it unsettling and disturbing. Olivia is effective as she works up to different levels of hysteria at a believable pace rather than going full bore from the beginning. Ann Sothern is a sad blowzy mess managing to engender sympathy for her character even though she does some disreputable things. James Caan is full of menace and an uncomfortable sexuality in his feature film debut, his simpleton comrades are frightening in their careless disregard for humanity. This is economically directed with a minimum of wasted scenes and a talented cast but the theme of home invasion is to real to provide much in the way of escapist entertainment.

"Lady In A Cage" was far ahead of its time. Compared to the rest of the lurid shockers produced in the early 1960s featuring aging Hollywood stars (including de Havilland's other 1964 appearance in "Hush...Hush, Sweet Charlotte") this film, along with "What Ever Happened to Baby Jane?" transcended the genre. But while "Baby Jane" had a lot to say about the price of fame, "Lady In A Cage" rightly predicted the impending chaos of a rapidly changing society.

Nothing about the basic premise (a middle-aged woman trapped in her house is terrorized by vagrants and thugs) suggests a deep sociological study. What elevates the ensuing events are the sharply observed details: the neighborhood in transition, the alienated masses isolated by endless traffic, the hoodlums' utter lack of conscience, and most of all, de Havilland's expert performance as the lone representative of the civilized world. Her undoing serves as a cautionary tale for a society on the brink. de Havilland makes this otherwise unsavory film exceedingly watchable. As her secrets are uncovered, she finds herself culpable as well. Everyone is caught in the inexorable downward spiral.

Despite the heavy themes, the film is highly accessible, even fun, if you take a jaundiced view. Not quite as campy as "Baby Jane" perhaps, but on some level, just as iconic. It's a film that stands up well to repeated viewings. Great graphic title sequence reminiscent of Saul Bass, compelling modern score by Paul Glass, sharp- focus black and white photography. Overall, fine work by everyone involved.

This unpleasant exploitation film with allegorical overtones was released by Paramount in 1964, and is something of a landmark. A major studio release that spares no one. It contains nary a single redeeming character, and views people and society as indifferent, greedy, and animalistic. Even the lady of the title is seen as selfish and the cause of her son's unhappiness. Directed by television veteran Walter Grauman, the film pulls few punches, makes effective use of the set and exteriors, and beginning with the title sequence, it's grim, and compelling. Olvia deHaviland who appeared in Hush,Hush Sweet Charlotte the same year is well-cast. In support, Ann Southern and Wedell Corey are good while James Caan, Jennifer Billingsly and Raphael Campos are effective, if overly mannered, as the trio who invade the house.

The Saul Bass-inspired credits for 1964 psychological thriller Lady in a Cage immediately bring to mind the work of Alfred Hitchcock, as does the film's single location and its high-concept: a rich woman trapped in her lift is tormented by opportunist thieves who ransack her home.

But director Walter Grauman is no Hitchcock.

Grauman lacks the sheer class and style of Hitch, his film being a lurid, trashy little effort boasting a heavy-handed cynical message about how people in Western society have become indifferent to the suffering of their fellow man (or in this case, woman).

Walt's handling of his material is completely devoid of subtlety, and his cast follow suit by gleefully overacting at every available opportunity, with star Olivia De Havilland's hysterical, melodramatic central performance being particularly comical (her rapid descent into despair, her sudden outburst of 'Alouette' and the faces she pulls while writing terrible poetry in her head are all priceless!).

With a dead dog, a wino stabbing, talk of decapitated women, and assorted sadistic brutality courtesy of young thug Randall Simpson O'Connell (James Caan, channelling Marlon Brando), the intention was clearly to shock the audience, but the final product borders on high camp (something that lends the film a certain cult appeal) and frequently proves tedious, all of which prevents it from being the truly disturbing classic it was clearly intended to be.

If one word could sum up Lady in Cage, it would be INTENSE!! For a 1964 film, this has loads of melodrama, fright, and sheer suspense.Check out a young James Caan, and a gorgeous, and cute Jennifer Bilingsley.This film is brutally straight-forward in terms of its characterization of the scum,thugs, and low-life of society,.. the acting in this movie, all across the board is outstanding.I give it an 8 out of 10, if not a 9/10.

This movie was ahead of its time, indeed. Released at the tail end of the *Leave it to Beaver* period, it is one of the most cheaply sensational and exploitative films ever made. Although the censorship laws of the times only permitted them to show SO much, its filmmakers have literally CRAMMED it with every conceivable depravity and vice (or what was considered vice at the time); *Lady in a Cage* contains: robbery, drug use, cheap sex, S&M, aimless violence, dead animals, religious blasphemy, murder, eyeball-gouging, prostitution, implied incest, alcoholism, hit-and-run car accidents, and bad poetry!

Look out, John Waters!

Released back in the mid-'60's, this sadly overlooked thriller was way ahead of its time and foreshadows the senseless violence that exists in our society today. Olivia de Havilland gives a stunning performance as a partially crippled woman who becomes trapped in her private elevator during a power failure. Meanwhile, three vicious thugs(led by James Caan in his film debut) ransack her house and contemplate murdering a hustler(Ann Sothern) and a wino(Jeff Corey) who are unwittingly along for the ride. It's a gripping, chillingly realistic tale, with first-rate performances by the superb cast. Not only did James Caan make his debut with this film, but LADY IN A CAGE also marked the return of the great Ann Sothern who had been absent from the big screen for ten years to star in the popular TV shows "Private Secretary" and "The Ann Sothern Show".

"Lady in a Cage" was banned in Australia for a long time, and has only just been released on DVD. I had read much about it, and now having seen it, have to say a lot of the criticism was justified mainly because of the terrible script writing - some of the things Olivia de Havilland had to say were so juvenile and out of context that I felt they destroyed one's interest. It is a film for viewing only once as the violence was so strong for the 60's, but way below what we are being served up today. If you could eliminate some of the script, and certainly fix the continuity as well as repair the poor ending, there is the basis of a good story. de Havillands acting was excellent, while James Caan made a very frightening villain, but for me, the performance of Ann Sothern as Sade, the Hustler, was the highlight. At the conclusion of seeing this Film, I felt dissatisfied in the fact that with some proper scripting and direction, it could have been very good.

This is a very uncommon, unusual, offbeat and unforgettable experience for any movie goer. Claustrophobic, not for all audiences - my wife left the room whilst she watched it mith me, accusing me to hurt her - but I persist and sign this is a masterpiece for many reasons. Directing, settings, acting, rythm, editing, everything, every scene is tense, taut, sharp as a razor blade. Yes, it is disturbing, not recommended, if you are depressed, and if you have suicidal tendencies. You can't miss this rare gem, diamond, chiseled diamond gem from Hollywood vaults. Nasty at the most, it could be considered as a guilty pleasure for masochistic reasons.

This is quite a quirky and disturbing movie. Olivia must be given credit for even accepting such a role, it seems quite a departure for her even coming off of "Sweet Charlotte." James Caan (who was never a favorite of mine) delivers a creepy performance as do the rest of the thugs. Ann Southern adds a touch of class in this otherwise dark, foreboding film. You may not want to watch this movie over and over again but it does deliver some nail biting suspense, especially when Olivia tries to escape only to be drug back into the house. There were quite a few continuity flaws especially when Ann Southern's character gets locked into a closet, never to be see again or the introduction of the living room wall safe, when no one bothered to look for it. You know you're in for a disturbing movie just by the opening credits where you see a dead dog laying in the street and a little girl running her roller skates over a bums leg causing it to bleed.

I always remembered this as a disturbing shocker, but having rewatched the film on AMC the other day, I was disappointed by the lame supporting performances and a frustrating lack of logic. The contrivances that occur to get Olivia de Havilland stuck in that elevator are unbelievable. And, although she is graceful and sympathetic, her actions after her house is broken into are full of ninnyisms (why not make a rope out of that long house-frock and slip down to the floor?). The punks (led by James Caan!) are menacing enough, but the actor playing the drunken bum is given way too much screen-time (and his overacting is positively painful--you sigh with relief when he is gone). The film has some thoughtful things to say about apathy in our society, and it has bits and pieces which come through with a terrific charge; but, for the sake of cheap thrills, the movie casts its harsh reality to the winds. ** from ****

Maltin must have been on drugs when he gave this juvenile attempt at psychological drama three stars. "Bone-chilling?" Much of this terrible script elicits laughter (my favorite was de Haviland's "Stone Age, here I come!". She must have been cursing her agent as she delivered that one.) "Allegorical tale?" Yes; it's a good approximation of a junior high attempt at allegory, complete with forced Oedipal references. As subtle as the crash of the Hindenburg. "Truthful and prophetic?" Yeah; it foretells how bad movies were going to become. "Starkly directed?" The movie spares no pains to throw in as much cheaply sensational sex and violence as it can on its obviously limited budget, and within the standards of taste and decency that were beginning at that time to unravel. "Well acted?" Puh-leez!! Olivia deHaviland (cursing her agent) does as well as she can with this lousy material, and James Caan ditto (especially for his first leading role). But Jennifer Billingsley's idea of what drugged-out looks like is laughable, and Rafael Campos' level of wiredness is ridiculous. Ann Sothern's efforts here belong in the Acting Hall of Shame. The movie ends with no attempt to resolve or make sense of the portentous "allegorical" issues it tries to raise. This dog looks like something made for tv (badly), which figures from a look at the director's record. A worthy companion to "Plan 9 from Outer Space".