A Hora do Diabo

The Devil at 4 O'Clock is directed by Mervin LeRoy and adapted to screenplay by Liam O'Brien from the novel of the same name written by Max Catto. It stars Spencer Tracy, Frank Sinatra, Kerwin Mathews, Jean- Pierre Aumont, Grégoire Aslan, Bernie Hamilton, Barbara Luna and Cathy Lewis. Music is by George Duning and cinematography by Joseph F. Biroc.

Pleasantly old fashioned film making, a disaster movie from the early 60s that boasts star appeal and nifty effects for the era. Plot finds Tracy as Father Doonan, a cleric who has lost his faith and likes a tipple or two. Ensconsed on a pacific island that houses a children's leper hospital, Father Doonan is to be relieved of his duties by Father Joseph Perreau (Mathews).

Enter three convicts who have to stop by the island, fronted by angry agnostic Harry (Sinatra), the cons are put to work in the leper hospital just as the island volcano decides it is time to erupt and level the island post haste.

What transpires sees a race against time formula adhered to, with added slices of sacrifice and redemption unfurled for our emotionally tickled enjoyment. It's undeniably too long at over two hours, really stretching the premise to breaking point, but such is the fine work of cast, photographer and director, it rounds out as spiffing entertainment. Great ending as well! 7/10

This film anticipates the "Dirty Dozen" film formula with a great story that affirms one's faith in God and the true missionary spirit of Catholic priests who went to various parts of the world to help the poor and the wretched of the earth at great personal sacrifice.

Yet the greatness of the film is not about the missionary zeal of Catholic priests but more about faith in God--the loss of faith and the process of regaining it. It is not an action film, it is a spiritual journey where convicts turn religious by observing selfless actions of others. It brings to mind Pearl S. Buck's "Satan never sleeps". The choice of the title "Devil at 4 O'clock" is unfortunate as the film is not about any devil--there is only a volcanic eruption at that time.

Even if you choose to discount the story, the film is admirable for its earthquake and volcano/lava flow sequences. I wonder how they were able to splice in realistic lava scenes as well as scenes of a small plane flying in close proximity to a volcano in full fury.

Along with "The Seventh Cross" and "Bad Day at Black Rock" this film ranks high as a Spencer Tracy film. He carries the film on his shoulders with good support from Frank Sinatra and Gregoire Aslan. Joseph Biroc's camerawork and Mervyl Leroy's decision to direct this film are commendable. If you have not seen the film see it, it will uplift your spirits and your faith in human values.

A star-packed disaster soap opera that's sort of a precursor to such 70s disaster films as "Earthquake". Fortunately, the characters are three-dimensional enough to hold our interest even in the non-action parts, while the big disaster scenes are technically good and hold up well. The film overdoes the religious and messianic angle a bit, but is certainly a pleasant time-filler. (**1/2)

I've always thought this would be a good film to show problem kids in a group home: the film presents great values of friendship, loyalty, love and self-sacrifice (among a group of convicts) and the possibility of "redemption" through these values. The story is melodramatic (bordering on operatic!) but, if you accept the old-fashioned style of movie-making, it really works. As with all classic films, this is one you can watch over and over for the aesthetics as well as for the story. The acting is fine. The ONLY thing in the film that doesn't hold up, in my opinion, is the scene through the jungle with Frank Sinatra carrying the blind girl on his back: it looks a bit comical to a modern viewer.

A crusty, eccentric priest (Spencer Tracy) recruits three reluctant convicts to help him rescue a children's leper colony from a Pacific island menaced by a smoldering volcano.

Some say the film was a precursor to the disaster films of the 1970s, such as The Poseidon Adventure, Earthquake, and The Towering Inferno. I can see that, although I never would have made that connection myself.

Because of Tracy's demand of top billing in any movie he starred in, Sinatra ceded top-billing in order to secure Tracy for the film. The film was the most expensive that Columbia Pictures had ever made. This was a wise move on Sinatra's part, because Tracy really makes the picture. Although the convicts are great, this is one of Tracy's better roles (and it helps that Hepburn is not around to slow him down).