Ore disperate

Few actors can play a gangster like Humphrey Bogart and few actors can play a decent family man like Fredric March. Both combine to give excellent performances in this thriller that explores three desperate men invading an upper middle class home after escaping from prison. William Wyler sees to it that his audience feels confined as most all the scenes are within the home. It builds to a dramatic conclusion that might not be what you expect but non-the-less believable. You feel empathy for Bogarts character and for that of his brother but ,even so, you will be rooting for the family to survive. An excellent cast adds a lot to this film. There are a few overly dramatic moments, however, they are brief.Desperate Hours will entertain you and keep you guessing. Try and see it!

These are the times when danger looks us in the face, when terror, torment, tyranny lends an embrace, as all we cherish and endear, goes toe to toe with every fear, and the world that was secure, falls out of place. When every movement of the clock is an attack, facades of life engraved with fractures, widened cracks - tremors, trembles, quaking dread, in not too long, you might be dead, as the desperation reaches, a climax.

It's of its time but it does still stand up to be counted all these years later, with superb performances throughout, especially HB, who as an actor matured with magnificence in the latter years of his movie making career.

THE DESPERATE HOURS

Aspect ratio: 1.85:1 (VistaVision)

Sound format: Mono

(Black and white)

The patriarch of a middle-class suburban family (Fredric March) is forced to take action when they're held hostage in their own home by three escaped convicts, one of whom (Humphrey Bogart) is an experienced lifer with nothing to lose...

The first and only pairing of superstars Bogart and March is a tightly-wound thriller, written by Joseph Hayes (based on his novel and stageplay, inspired by actual events), and directed by Hollywood veteran William Wyler, distancing himself from the 'women's pictures' he had helped to popularize during the 1940's (THE LITTLE FOXES, MRS. MINIVER, THE HEIRESS etc.). Photographed in gleaming deep-focus VistaVision by Lee Garmes (SCARFACE, THE PARADINE CASE), the movie wrings incredible tension from the claustrophobic settings and frequent stand-offs between staunch family man March and embittered con Bogart. The movie's themes are fairly conservative and the outcome is never really in doubt, but this is a top-drawer thriller from Hollywood's 'golden age'. Also starring Arthur Kennedy, Martha Scott, Dewey Martin and Gig Young in crucial supporting roles. Unmissable.

NB. Though nowhere near as dreadful as most critics would have you believe, Michael Cimino's remake DESPERATE HOURS (1990) isn't a patch on the original.

A lot of loopy comments out there about this one. "Predictable" is a very over-used adjective that I've certainly been guilty of myself, but what exactly is supposed to happen in a hostage-taking, domestic thriller like this? Are aliens supposed to land in the Hilliards' back yard and vaporize everyone? Is Bogart's escaped con supposed to dress up in drag at some point and decide he wants to become a chorus girl? Would that satisfy those who find this movie predictable?

"The Desperate Hours" keeps you on the edge of your seat; it more than passes the test as a thriller and it most certainly has not mellowed over time. The script is fine, intelligently examining how the respectably middle class but somewhat complacent father (Frederic March) draws strength and courage from the love of his wife and kids in handling the ordeal. Though each family member is formulating their own strategy for how best to resolve the crisis (their brains are always going "clickity-clickity-click" as Bogart mockingly keeps reminding them) they recognize March as the father and as such the captain of the ship. They look to him for leadership and he responds. It's telling that when the young son disobediently puts his ill-conceived plan into action, it undermines the father's nearly successful tactic. Though he had earlier suspected his dad of being cowardly for not taking a more aggressive stance, from this point on he begins to appreciate all the variables he must take into account and looks up to him once more. The idealized, but by no means wildly unrealistic domestic situation reflects the mood of the time. Why on earth would it possibly reflect cynically 90's attitudes and sensibilities, as some reviewers seem to desire?

There are casting decisions pertaining to age differences which raise an eyebrow, but do not seriously detract from William Wyler's (as masterful and dependable a director as Hollywood has ever cranked out) otherwise polished production. At 42 of course, Gig Young seems a tad old for the family's 19 year old daughter (beautiful Mary Murphy) but he's still youthful enough looking and he puts an interesting spin on what is usually the thankless role of the boyfriend who stumbles into things. One of the beauties of B&W photography is that it can always be used to make actors look as many as 5-15 years younger than they are. This comes into play with Bogart's character as well, as he's asked to be the older brother of 32 year old Dewey Martin, and it's something that I didn't have too hard a time buying. It's difficult to believe this was one of his last films, as he seems quite vigorous and robust in the part.

Tense, exciting, well-acted and directed; this is indisputably far superior to Michael Cimino's bloody and botched 1990 Mickey Rourke "star" vehicle remake.

Frederic March, Martha Scott, Humphrey Bogart and Arthur Kennedy are just a few of the people who endure "The Desperate Hours," a 1955 film, based on the stage play and directed by William Wyler. On Broadway, the play was directed by Robert Montgomery and starred Karl Malden in the Bogart role and Paul Newman played his brother, here played by Dewey Martin. The film also stars Gig Young, Mary Murphy, Richard Eyer, and Robert Middleton.

Having just seen Bogart in the 1936 "The Petrified Forest," it was interesting to see him still taking hostages 19 years later - and in fact, looking like he'd spent the last 19 years on the run from the law. He was clearly ill during the making of this film. Though Dewey Martin looked 30 years younger than Bogie, he was in fact only 20, making the fact that they were brothers a tiny bit more plausible.

I also had recently seen "The Star Witness," a 1931 Warner Brothers film with a similar plot, which won an Oscar for best original screenplay. By 1955, it wasn't original any longer, but the execution of the story is compelling. Martha Scott is a housewife, Ellie Hilliard, alone in her suburban home when three escaped criminals (Bogart, Martin and Middleton) take over the place. Glenn Griffin (Bogart) wants to murder the Deputy Sheriff (Arthur Kennedy) who put him in prison, and he needs to wait for the delivery of some money to make good his escape. Dan Hilliard (March) and his daughter Cynthia (Murphy) walk into the situation, followed later by the Hilliard's little boy (Eyer). You'll be wondering why the son isn't knocked off - by his parents - given the trouble he causes.

The money is delayed, and of course, the police have no idea where the gang is, as Griffin has put his car in the Hilliard garage. So the hours turn into overnight. Although March and Cynthia are allowed to leave the house for work, and Cynthia has to keep a date with her boyfriend (Young), they're too terrified to say anything for fear the mother and boy will be killed. Basically the gang as well and the family become prisoners as the hours drag on.

Wyler gives us lots of frightening and suspenseful moments as the tension builds in the house, and he never lets the pace drag. Supposedly he made March and Scott do a goodbye scene for take after take because he thought March was "acting" and wanted to tire him out. An accomplished stage actor of the old school, March consistently had a great presence but didn't always emotionally connect with his characters - he does here. March and Bogart make powerful adversaries, March hitting just the right note as an angry father afraid for his family, but not afraid to talk back to Griffin. Bogart's Griffin is shrewd and admires brains and bravery in others; the family impresses him with their guts.

Bogart is marvelous in the role - though tired out, his character is determined to keep the gang together and free; he's resentful of the middle classness of the family and how out of place he and his gang are in a nice home. Unlike his Duke Mantee in "The Petrified Forest", Bogart's Griffin doesn't seem to have a sense of the hopelessness of his situation until the very end; also unlike Duke Mantee, he has a vulnerability that he demonstrates at the end.

Robert Middleton gives a scary performance as a witless member of the gang, and Martin, as Hal, displays Hal's disillusionment with the situation, his attraction to Cynthia, and the realization that he can never have someone like her if he continues down his brother's road. Gig Young is somewhat wasted as Cythia's boyfriend - it's unnecessary star casting. Martha Scott does a terrific job as the harried wife and mother. The wonderful Arthur Kennedy gives another good performance as the sheriff determined to catch Griffin.

Highly recommended for its suspenseful story, fine direction, and top performances.