Il promontorio della paura

Mitchum was, if anything, even more powerful in "Cape Fear," possibly because his antagonist this time was the perfectly contrasting Gregory Peck…

Mitchum played a sex criminal, freed after eight years in prison, who returned to a sleepy little town to terrorize the witness (Gregory Peck) whom he blamed for his conviction…

The ex-con uttered no threats, used no violence, broke no laws – and the police were therefore helpless… But his very presence, the tone of his voice, the look in his eyes as he turned them lazily on Peck's attractive wife and adolescent daughter showed with unmistakable and cumulative menace that he would surely take his revenge…

Peck planted his wife and daughter on a safely moored houseboat to tempt Mitchum into a trap...

One perverse individual can exploit his freedom by using it to encroach on someone else's. That is the problem with a society which cherishes personal liberty. The community has the dilemma of deciding whose freedom it ought to protect. At what point should the state intervene?

Today, modern democracies have anti-harrassment laws which carry criminal penalties, and there is also the civil remedy of an injunction with power of arrest, but back in the early 1960's a man who chose to make a nuisance of himself enjoyed wide latitude. It was difficult for the law to step in without infringing his civil and constitutional rights.

Sam Bowden (Gregory Peck) is a small-town attorney in the south-eastern United States. He has a lovely family and a nice home, and is well thought of by neighbours and colleagues alike. This American idyll is destroyed when a newly-released convict shows up, intent on harrassing Bowden. Some years back, the lawyer had appeared as a witness at this man's trial, and the convict bears an irrational grudge.

Max Cady is one of the cinema's great villains. Mitchum is irresistible as the heavy-eyed smart alec seething with sexual energy. Cady's sharp but warped intelligence is disturbing to behold (the way he obtains Bowden's vacation address is chillingly impressive). He begins to show up wherever Bowden goes, an ominous sarcastic presence to which no objection can be made, so long as he stays within the law. Cady's salient traits are placed before us right from the start of the film. He is completely callous (ignoring the girl who drops her books on the stairs) and a nasty sexual predator (picking up the waitress in the bowling alley).

"Cape Fear" is a taut, absorbing thriller. Mitchum's charisma fills the screen, and the dark eerie look (by Director of Photography Sam Leavitt) compounds the feeling of menace. The incidental music is excellent.

However, the film has some implausible ingredients. Why would a woman who has just been sexually degraded, and is clearly traumatised, be handed over by the police to the care of a private eye? (Charlie Sievers the gumshoe is played by Telly Savalas - with hair!) Would a criminal attorney really - no matter what the provocation - hire waterfront thugs to beat up a stalker? How come Sam's gun is still effective after being immersed in the river? Why doesn't Nancy's phone work? It is preposterous to suggest that Cady would waste time on the elaborate feint towards Peggy instead of pursuing his real victim. And how can it be that Cady can defeat three ruffians single-handed, overwhelm a police bodyguard with ease, yet fail to defeat Sam, even when armed with a stick?

Verdict - Allowing for the improbabilities, this is a well-made thriller with a magnificent performance by Mitchum.

Martin Scorsese's version of "Cape Fear" had its moments, but overall was something of a chaotic picture. Its "satire" (or lack thereof) didn't really have a point, and its over-the-top visuals seemed to be compensating for a lack of content. It seemed less like Scorsese and more like DePalma.

Thompson's original is better - more scary, more thrilling, more diabolical and realistic. Whereas De Niro's scenery-chewing performance in the remake was almost laughable, Robert Mitchum's spine-tingling turn here as Max Cady is one of the great human movie monsters - he's a demon at spirit, no in physicality.

He seeks revenge on Gregory Peck and his family after Peck puts him away in jail for a few years.

Scorsese's version was more updated and in that sense its general themes were more believable - Cady's psyche was more exposed, his violence exploitative - and the romance between Cady and Sam Bowden's daughter in the original is nonexistent. In fact, the extent of his harm towards her is when he chases her around an empty school.

Still, this is a better version of the movie because it has more strengths than the remake. Visually it's not as impressive but it makes more of an impact as a thriller.

Sam Bowden is a lawyer who, eight years ago, acted as a witness against Max Cady to put him behind bars. Released from prison, Cady has studied the law and is set on terrorising the Bowdens without actually overstepping his legal rights. As Cady toes the line with increasingly worrying results, Browden begins to cross the line to deal with him and protect his family.

Having seen the remake first I wanted to go back and see it done originally. My first impression was that the remake had done some elements better than this. For example Nolte's lawyer is a lot less clean-cut than Pecks'. Also the sexual threat to the daughter is a lot more played out in the remake. Getting past this I saw how this was actually a better film in many ways. As a drama it moves along at a good pace – not jumping from one thrill to the next but not dragging either.

The film can only hint at the deeds of Cady because of the censors but it is clear even to the blind that Cady is a monster. This ups the tension as everything is slowly build to and we don't get a bloody or sexually shocking scene as a pay-off, no, here the tension is build on top of other tension. The direction is good, giving a dark feel to the look of the film as well as hinting constantly. Even if some of the thrills are signposted it still works well.

However, without Mitchum's performance this would be a very different film. With the help of De Niro's sneer or menacing tattoos, he is still a better Cady. He is on top form – where De Niro wore his threat large, Mitchum hints at it under a veneer of casual disinterest, making the threat seem bigger when he acts. Peck is good even if his character is too clean-cut when he should have been pushed further over the line for my tastes. Bergen doesn't have much to do, but her final scene with Mitchum is powerful and she really lets rip. Martin is perfectly cast – she looks like a child but also is `developed' enough to be a sexual role for Mitchum to prey on. It is easy to watch her as Mitchum closes in on her, almost licking his lips, but that's the power of the film.

Overall this manages to be powerful and thrilling despite the censors and is a really good drama. However it is totally carried by a monstrous yet subtle performance by Mitchum. De Niro was good in the role but once you've seen this you'll realise that menace can be acted subtly and not just by sneering and getting tonnes of tattoos.

Boy, this shows that you can still make a scary movie without a lot of blood, profanity and whatever. Hollywood didn't learn that, however, featuring all of it less than a decade after this was made. The Martin Scorcese re-make of this movie is exactly what I'm talking about.

This original Cape Fear was legitimately scary, thanks to the performance of Robert Mitchum, who doesn't need to resort to the f-word to be a tough, sick and really an evil character as he stalks Gregory Peck and his wife (Polly Bergen) and daughter (Lori Martin).

Bergan and Martin are two women I don't see too much in films which is too bad. They did a lot more TV work than movies. Another thing you don't see much anymore - a nice, sympathetic policeman - was also portrayed in here nicely by Martin Balsam.

The ending has some holes in it, to be sure, but overall it offers a good 106- minute suspense story.