Medo Que Condena

The great director who would make " invasion of the body snatchers" "the killers" "the beguiled" and even Elvis' best ("flaming star") is already present;his flair for film noir and for disturbing atmosphere is glaring in the scene in which the diver tries to rape T. Wright:the way Siegel films his eyes is absolutely terrifying ;ditto for the scenes when the lawyer looks for the former employee;oddly Siegel does not seem to very interested in T.Wright's character and the last scenes are given over to Dolores Moran and Adele Mara,who are relatively obscured thespians compared to the star of "shadow a doubt" and Wyler's war movies.

However,the movie is absorbing and a must for suspense buffs.

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MacDonald Carey and Teresa Wright, both of whom starred in Hitchcock's Shadow of a Doubt, work together again in a less prestigious film, "Count the Hours" from 1953, directed by Don Siegel.

Wright is Ellen Braden, whose husband George (John Craven), a migrant worker, is arrested for the murder of an elderly man and his housekeeper that was done apparently during a robbery - the man kept a lot of money in his house.

When asked if he has a gun, he at first says no. His wife runs home and throws the gun in the lake, but she's seen doing it. By then he's admitted to having one. He's believed to be guilty.

Carey plays attorney Doug Madison, who is asked to take the case but refuses. After speaking with Mrs. Braden, he changes his mind. He's convinced that they have to find the gun. But when they do, it's a disappointment. Doug believes in George's innocence, which means they have to find the killer.

Pretty good mystery-suspense film which also features Jack Elam. Wright is sympathetic as the pregnant Ellen who believes in her husband, but John Craven doesn't register much.

Carey was an affable leading man who found his great success on Days of Our Lives. He had a wonderful speaking voice and a gentle presence. Elam is his usual evil-looking and sleazy self.

On the ordinary side but tense nonetheless.

A lawyer defends a migrant worker falsely accused of two murders.

What is interesting, first of all, is how the defendant is described as a "migrant worker". That is not incorrect, but I think perhaps the connotation in 1953 is different than in 2017, because now the term would almost exclusively be referring to a Latino employee. In fact, the United Nations defines a migrant worker as "a person who is engaged or has been engaged in a remunerated activity in a State of which he or she is not a national." This, more often than not, would be Mexican farmhands in the case of the United States.

Anyway, the film is quite good. I don't know if it was a feature or a B-movie, as it does give the impression of not having big names attached and perhaps a smaller budget. But for entertainment purposes and a but of suspense, it does the job. In retrospect, it also serves as a great example of early work from director Don Siegel.

MacDonald Carey stars as an Atticus Finch like attorney in Count The Hours where he's asked to defend George Craven who is accused of killing an elderly rancher and his wife. From the reactions around the town the two were beloved in the community and everyone just wants to hang Craven and be quick about it.

His defense of Craven puts Carey's own relationship with rich girl friend Dolores Moran in jeopardy. And he's certainly not winning any popularity contest defending Craven. Still Carey soldiers on until the truth emerges.

Don Siegel got some beautiful performances from several of his cast members. First Teresa Wright as Craven's wife who is the picture of innocence. Her innocence makes you the audience as well as Carey believe in the rightness of the cause. Also Adele Mara poaches on what is usually Gloria Grahame territory. She plays a real low life white trash slut and she does it magnificently.

Finally though there's Jack Elam who was a former hand at the deceased's place and he's a former mental patient. That blind eye of Elam's served him so well in films he could play some really loony characters. Elam is at his bug-eyed best in this part.

It's sad that Don Siegel did not have a bigger budget to work with. As it is Count The Hours is a real noir classic and Carey's Dave Madison belongs right up there with Atticus Finch in the pantheon of film's incorruptible men of the law.

Count the Hours (AKA: Every Minute Counts) is directed by Don Siegel and written by Karen DeWolf and Doane R. Hoag. It stars Macdonald Carey, Teresa Wright, John Craven, Jack Elam, Dolores Moran, Adele Mara and Edgar Barrier. Music is by Louis Forbes and cinematography by John Alton.

When a farmer and his housekeeper are murdered, suspicion falls on the hired hand George Braden (Craven). Owning a gun that matches the bullets used in the killings, Braden and his wife Ellen (Wright) are taken in for questioning when Ellen panics and is seen to throw the weapon into a lake. Under pressure and wanting to free his wife from duress, Braden confesses to the crime and finds himself on trial for his life. Enter Doug Maddison (Carey), a local lawyer who comes to believe that Braden is innocent and faces a fight against the clock to save Braden from the hangman's noose.

The pairing of Don Siegel and John Alton alerts the noir crowd to this compact low budget race against the clock thriller. In truth it's standard fare on a plot basis, with a mixed bag of acting performances (Elam and Wright exempt) and poor use of the Theramin in the musical score (it telegraphs what we should expect and feels on this occasion it's in the wrong movie), but within simplicity of story also comes potent points of worth.

As the clock ticks down and the stakes are raised, Siegel and the writers slot in the distasteful workings of the human being. Not only is there the running theme of the law quite frankly being an ass, but there is the bite of the rumour mill, a man forcing himself on to a desperate woman (Siegel zooms in for an emphasised facial shot that is bone chilling) and psychiatry playing a judicial hand; and not a good one at that!

Then there is Alton bringing his photographic tricks to compliment Siegel's efforts to lift a standard screenplay to greater things. Angular shots feature but it's with shadows and light that Alton excels, none more so than with the prison sequences. Here is where a frantic Braden is being held and it is a caged hell, because Alton highlights the shadows from the bars on the doors and windows as well, there is no escape from bars, they literally are all around, with one shot showing Alton at his best.

It's little seen and most likely forgotten about, and certainly its qualities have been ignored by the none film noir loving crowd, yet this is well worth a peek for those film lovers who like trawling the back alleyways for Siegel and Alton peccadilloes. 7.5/10