Wait Until Dark

I watched this movie out of sheer "desperation" -- I couldn't find any current movies on that I wanted to see or that I hadn't seen before, so I just ended up on the channel this film was on. It was fate!! What a fun, suspenseful film!!

If you have not seen Audrey Hepburn in a movie, see this and "Breakfast at Tiffany's" and you will *really* appreciate her talent and beauty. Also of mention is Alan Arkin. I read that critics didn't like his role as the heavy in this film when it was first released, but personally I think he is great in it -- intimidating and kitschy at the same time.

This film builds the suspense throughout perfectly. There is not a lull or a let-down to be found! Also, this has a twist ending and a classic suspense/horror plot element that has been done many times since, but not as well!

The Bottom Line: 4 1/2 Jiffy's Out of 5

In "Wait Until Dark", I really felt sorry for Audrey Hepburn's Susy Hendrix: blind, lied to by a 'nice' guy who is actually in cahoots with a murderer, sassed by the bespectacled neighbor girl, and then--after a hellish night spent being terrorized by thugs--husband Efrem Zimbalist Jr. walks in and doesn't even give her a hand. "I'm over here, Susy", he tells her, mildly condescending. Film is based on Frederick Knott's popular play, and has an elaborate but obtuse set-up involving a missing doll filled with heroin. There's a great deal of talk about where it is, who had it last, etc. The filmmakers bide their time before getting to the showdown between Hepburn and Alan Arkin, cool and collected as a self-assured psychopath. If you can make it through the first half-hour or so, you'll find that "Wait Until Dark" gets cooking thereafter. There are some terrific jolts, and Hepburn is a great, stubborn fighter. The frosty, subdued color photography is 'realistic' and very stylish, as is Henry Mancini's spooky music. The end-credits theme song (by Mancini, Jay Livingston and Ray Evans) seems a throwaway, but is nicely sung by the uncredited Sue Raney. *** from ****

This film shows what a director can do with some good actors and a good script. It takes Audrey Hepburn to turn this into a great film. Her vulnerable blind woman, at the mercy of a group of drug traffickers, is amazing. Alan Arkin, who sometimes plays comic victims, is outstanding as a true psychopath. He doesn't want the hidden drugs. He wants power over everything. He'd be the last guy a group of organized criminals would want on their side. But they've got him and they need to cater to him. The movie is about situations as Audrey Hepburn must defend herself, once she realizes this is necessary. She knows the house and knows that in darkness she has a chance. Still, she weighs about eighty pounds and has probably never confronted someone physically in her life--and she can't see her attackers.

I'll tell a little story. There's a scene where a towel on top of a refrigerator hangs down so the door can't close. The woman must darken the room, but the light in the refrigerator is going to stay on until the towel is removed. A friend of mine saw this movie with his family, and when this happened, his mother, a real character, stood up and screamed: "Pull the towel out of the door." The whole family disappeared under their seats and denied the existence of this woman.

As far as suspense goes, I can't think of a movie (and that includes every slasher movie I've seen) that has such sustained terror as this one.

Great little gem that -for the most part- stands the test of time very well!

Audrey Hepburn is cast beautifully as the blind woman victimized by three deviants. Alan Arkin is truly terrifying as the leader and his performance here ranks as one of the all-time-great screen villians.

Director Young handles the pace masterfully. No sequence really goes on longer than it should. Henry Mancini uses a nice, quiet score that creates appropriate tension as the film builds to its classic showdown.

My favorite thing about the film is, I think, the use of lighting in the final sequence. Charles Lang uses a creepy, dimly-glowing, red-orange light to illuminate the apartment after Suzie has smashed every other bulb. The effect has a shadowy, nightmarish quality and the scene looks like it was filmed yesterday.

When you think about David Fincher reworking the original concept here for PANIC ROOM, it really is a flattering comment to WAIT UNTIL DARK and its power in still being able to chill. It's also funny to think that with all that impressive photography and filmmaking, the film didn't have nearly half the tension of this 1967 classic.

Excellent,very underrated suspense where Audrey Hepburn shows how much

eclectic she was from psychological dramas (children's hour) to musicals (My fair lady)to thrillers "in camera " like this absorbing exciting "wait until dark" .Directed by Terence YOung (who directed the best James Bond bar one -Goldfinger-),it never gives the feeling of watching a filmed stage production and however it was a play in the first place.Hepburn is wonderful as the courageous blind woman who 's got to fight against killers (and she gets fine support from Richard Crenna and Alan Arkin) in her apartment.Influenced by "rear window" ,it's perhaps not as good as Hitch's classic,but it rises to the occasion.The scene when Hepburn shoots out (and smashes) all the lights is mind-boggling.So is the fridge's terrifying sequence which climaxes the movie.

Every cine buff fond of suspense deserves -and must see- "Wait until dark" Sit down and get some scares...in the dark of course.