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When Cady (Mitchum) slips into the water, it's like an alligator sneaking up on its prey. Except this is a houseboat with two vulnerable women in his sights. With those sleepy eyes, it's hard to know just what sadistic acts he's got in mind, but we know it's too grisly for the screen. Remember what he did to poor Diane (Chase), and he wasn't even mad at her. Cape Fear should have been named Cape Fear, Shudder and Sweat.

This is about the last word in stalker movies. More importantly, it shows how using less often produces more. Mitchum underplays the stalker role, but he also knows how to imply unspeakable evil, which is really more effective than blood splatter. It's what's in your imagination that's really scary. Ditto Peck, (Sam) whose on-screen reserve speaks volumes in grim determination-- he's got to protect his family. Only Bergen as the terrified wife gets to really cut loose. What a first-rate cast, plus expert pacing from director Thompson.

I guess the movie's moral is that if the law can't protect you, you've got to do it yourself. At that primitive level, there's no holds barred. So the tension really mounts as we discover Cady's animal cunning is too much for the law or even for hired thugs. In the end, then, it's going to have to be Cady vs. Sam, mano y mano. It's sort of like a modern morality tale of the nuclear family vs. a swamp beast. No doubt about it, the movie's a real nail-biter the whole way.

This psycho-thriller based on John MacDonald novel titled ¨The executioners¨ concerns about Max Cady an ex-con excellently played by Robert Mitchum ,he accuses a Southern advocate,a magnificent Gregory Peck,for his eight years imprisoned and schemes a malevolent vengeance on his wife(Polly Bergen) and daughter(Lori Martin).Peck is helped by the chief Inspector(Martin Balsam) and he hires an astute detective(Telly Savallas)to watch him.Meanwhile Mitchum plays to cat and mouse with his family which is increasingly menaced.

The film contains psychological characterization ,grisly triller,tense situations, and is pretty entertaining.It's brilliant,atmospheric and slickly developed,almost a masterpiece.Major asset are the continuous suspense and marvellous acting. Casting is frankly awesome with exceptional performances,especially by Robert Mitchum as a wacko with ominous purports. Musical score by the master Bernard Herrmann with a similar style from Hitchcock music films.Sensational black and white cinematography by Sam Leavitt.The motion picture is finely directed by J.Lee Thomson (Guns of Navarone,McKenna's gold),a good filmmaker,though in his final career, he only directed Charles Bronson vehicles(Ten to midnight,Newman law,St Ives).The film was remade by Martin Scorsese,an inferior remake with secondaries appearance by Mitchum,Peck and Martin Balsam. It's a must see for Mitchum and Peck fans.The film is one of the best thrillers from the 60s.Rating : Better than average.

Let me start by saying that I am, and have always been, a fan of the villains. When I first started learning how to use Macromedia Dreamweaver, my test site was a shrine to the various villains in the various stories I've written throughout my life. The villain remains to this day the best way to advance the dramatic tension of the plot, and I hold a deep respect for them because of it.

That being said, this is possibly the first movie that has made me root for the hero to win, while still having a truly good (so to speak) villain. Gregory Peck's caring and responsible family man plays perfectly against Robert Mitchum's sleazy, cigar-smoking, prostitute-beating rapist. (It would've been nice if Mitchum could've done something like this seven years earlier in Night of the Hunter, but I'll gripe about that in its own review.) Peck plays one of those heroes that even a villain nut like me can't help but root for, and Mitchum couldn't have been a more despicably good villain if he tried.

Nearly everything else about this film is perfectly executed. The suspense, the relations between the characters, the script, the believability of the situations and actions, and of course, the acting...with one rather glaring exception. Where did Lori Martin learn to act? Talk about annoying! No, she wasn't bad enough that I didn't care about what would happen to her character, but it would've been nice if she had taken a few acting classes before showing up on set. I probably could've given a more believable performance as Gregory Peck's daughter when I was that age. And when I was that age, Gregory Peck was eighty-six.

But in the end, the movie came through. If you ask me, this, not Night of the Hunter, is the film Robert Mitchum should be remembered for. (And before anyone (because I know there are some of you out there) starts berating me about only saying that because I was disappointed by Night of the Hunter, I actually saw this movie first.)

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.

Former convict Max Cady (Robert Mitchum) seeks revenge against Sam Bowden (Gregory Peck), the man whose testimony sent Cady to prison for eight years. But that revenge is not initially physical. Instead, it takes the form of intimidation and psychological terror against Bowden's wife (Polly Bergen) and young daughter, Nancy.

Cady is a low-life who hangs out in seedy bars and treats women badly. He smokes cigars and wears a Panama hat. In contrast, lawyer Bowden and his goody-goody family live in a big house with a manicured lawn.

What's interesting here is that, as criminals go, Cady is quite smart. His intimidation tactics stay well beyond the law's reach. For example, at a boat launch, Cady stares lasciviously at Nancy. Bowden notices, and in disgust tries to engage Cady in a fight. But Cady refuses, noting nearby witnesses who could be called to testify against Bowden, the aggressor. And so it goes, throughout much of the story; wherever Bowden goes, Cady is somewhere nearby. He hovers, like a hawk over its prey, waiting for just the right moment. Cady's terror is what he might do.

The last part of the film takes place on or near a houseboat on the Cape Frear River in North Carolina, where Bowden's wife and daughter are holed up. Here, at night, in the midst of wilderness, Cady pursues his prey. He's a night stalker, or hunter, silent like a snake, sly, ever watchful, cold-blooded and reptilian. Amid the stillness and dark shadows, Cady creeps closer and closer.

Bernard Herrmann's eerie background music reminds me of the music in "Psycho". Filmed in B&W, both films use high contrast lighting. The music/lighting combo exudes a high level of tension and suspense.

Even though Gregory Peck is the film's protagonist, "Cape Fear" really belongs to Mitchum, who gives a very good performance as the villain. Peck's performance is adequate; Polly Bergen tries a tad too hard and comes off as melodramatic, especially toward the end. The always reliable Martin Balsam shows up in this film, as he did in "Psycho", with a very credible performance as a good guy cop.

With great B&W cinematography, appropriately frenetic "Psycho"-like music, effective plot structure, and a fine performance by Robert Mitchum, "Cape Fear" is a highly suspenseful film.