Allô... brigade spéciale

Just saw this movie for the first time and the DVD transfer just released is fine.

From the moment this film opens, I couldn't help but wonder how many times Lynch has seen this movie. Those of you who've seen Experiment should know what I mean.

The score, the angles, the subdued dialogue all help to create one heck of a moody, brooding piece of work. I couldn't agree more with some of the other IMDB comments here...this is a great piece of film noir, if not the last great piece of film noir for a particular generation!

What I so admire about classic film-making from years past is how directors, like Blake in this instance, don't or couldn't resort to gratuitous blood and nudity to creat atmosphere. Unlike Lynch, who exploits graphic gore and nudity, Blake thrills with mere thoughts of sexual deviency and violence.

The opening scene to Experiment is one I shall not forget soon! As our villain forces himself on Remick and proceeds to dirty her ears with the filth of what he could do to her is just simply incredible film-making. It reminded me of the scene from Lynch's Wild at Heart where Dafoe's character has Dern's character in his filthy clutches. Except in Experiment, I think it works even better...why? Because there were no profane words or over-the-top characterizations, just simple text and superb acting that later matches a villain who seems quite normal as he strolls the streets of San Fran. I really believed the characters in this film...Blake puts everyone in context.

Congrats to Blake Edwards on his only serious movie...I wish you had done more! And, Mancini is as sly as ever on the score. I could go on and on. Suffice it to say, I really enjoyed this movie and am happy to have it as part of my DVD collection. Although, I'd love to see Criterion get a hold of this one...I'd love to learn more about the history of this film.

Although it's two hours long and there is nothing much resembling today's blood and guts-action-a-minute thrillers, this 1960s crime story still entertains, thanks to an interesting cast.

Sure, they could have chopped off 15 minutes of this to make it a bit tighter but watching Glenn Ford, Lee Remick, Stefanie Powers and Ross Martin isn't all bad, especially Remick, a gorgeous woman with one of the sweetest, softest voices I've ever heard. Powers, 19 when she filmed this, was easy on the eyes, too. Martin is effectively creepy as the asthmatic killer and Ford is good as the no-nonsense FBI man after him. I look at Ford as one of the better and underrated actors of his generation.

The DVD also shows off some nice film noir-type photography to its best. The clothing, cars and hairstyles might be a little out-of-date but the dialog isn't, and it's refreshing to watch a crime film without today's profanity laced through it.

Overall, it''s solid film-making.

Before Ross Martin became the amiable Artemus Gordon on "The Wild, Wild West," and before Blake Edwards began making those Pink Panther movies, they joined up for this complex, thoroughly convincing story of a sadistic thief who terrorizes bank teller Lee Remick to gain her complicity in a heist. Edwards makes effective use of the San Francisco locations, of Glenn Ford's portrayal of a tough FBI agent, and of Henry Mancini's jazzy score to weave this taut, psychological suspense tale.

When I saw that this was directed by Blake Edwards and with music by Henri Mancini, I was a bit worried but things turned out OK. Edwards works wholly within the established conventions of the film noir genre and he is very competently supported by camera and lighting work. There is no brilliant innovation but everyone definitely knows what they are doing. Mancini's music is completely appropriate and as good as one could ask for.

Thus, if you are studying film noir and how to produce such films, this is a good representative technical example. In 1962, the elements, however well executed must have been very familiar to its audience. However, if you are coming to it without having seen many others, it will grab you.

In fact, the opening scene will grab anyone. The various elements work very well and the viewer is pulled right in. However, the strength of that opening scene is one of the reasons the film falls short of a top rating. Great suspense and sense of threat is created there but it cannot be sustained. Instead of building to a crescendo, we are dropped solidly into the deep water but allowed to meander our way to the shallows until we emerged relatively relaxed at the end. The film does throw in twists and turns that keep you guessing at times but the level of tension ebbs away. The contrast with other films of this type that succeed in genuinely having you on pins-and-needles toward the end is strong.

One of the reasons for that could be that we see Ford and his FBI colleagues so numerous and well mobilized on the case. Much of the film consists of their earnest investigations and support of the intended victims. We thereby get the sense that they will inevitably prevail. We also see Ross Martin's villain as multifaceted and not as all-threatening as he might be despite the very convincing start up.

The acting as noted by others is good from top to bottom and in the case of Martin, top notch. If we could only get that more often today!!

"Experiment in Terror" is a superb example of how to scare the hell out of you without a trace of gore, blood or gratuitous violence. For all intents and purposes this is a police procedural where the aim is to track down a stalker/blackmailer/murderer. Filmed in black and white the film revels in darkness and uses it to create its more unsettling moments. Imagining what we are barely seeing in the dark and letting our imaginations run wild is scarier than seeing a graphic depiction. Ford and Remmick turn in excellent performances under Blake Edwards' deft direction. Best of all is Ross Martin as the world champion heavy breather. Martin is generally known for more lighter roles but his rather sinister turn here is very fine. Stark photography, often at night, and a subtle yet unsettling score by Henry Mancini are icing on the cake. To be watched with the lights out.