Escravas do Medo

When I saw that this was directed by Blake Edwards and with music by Henri Mancini, I was a bit worried but things turned out OK. Edwards works wholly within the established conventions of the film noir genre and he is very competently supported by camera and lighting work. There is no brilliant innovation but everyone definitely knows what they are doing. Mancini's music is completely appropriate and as good as one could ask for.

Thus, if you are studying film noir and how to produce such films, this is a good representative technical example. In 1962, the elements, however well executed must have been very familiar to its audience. However, if you are coming to it without having seen many others, it will grab you.

In fact, the opening scene will grab anyone. The various elements work very well and the viewer is pulled right in. However, the strength of that opening scene is one of the reasons the film falls short of a top rating. Great suspense and sense of threat is created there but it cannot be sustained. Instead of building to a crescendo, we are dropped solidly into the deep water but allowed to meander our way to the shallows until we emerged relatively relaxed at the end. The film does throw in twists and turns that keep you guessing at times but the level of tension ebbs away. The contrast with other films of this type that succeed in genuinely having you on pins-and-needles toward the end is strong.

One of the reasons for that could be that we see Ford and his FBI colleagues so numerous and well mobilized on the case. Much of the film consists of their earnest investigations and support of the intended victims. We thereby get the sense that they will inevitably prevail. We also see Ross Martin's villain as multifaceted and not as all-threatening as he might be despite the very convincing start up.

The acting as noted by others is good from top to bottom and in the case of Martin, top notch. If we could only get that more often today!!

When the bank clerk Kelly Sherwood (Lee Remick) arrives home after hours, she is intimidated by a stranger that knows her routine habit. He threatens Kelly and her sister Toby (Stefanie Powers) to force her to heist $100,000 from her bank; otherwise he will kill her. Kelly does not see his face but notes he is asthmatic. Kelly succeeds to lure the criminal and contacts the FBI agent John 'Rip' Ripley (Glenn Ford) that advises Kelly how to behave and assigns a group of agents to keep Kelly and Toby under surveillance. But when Toby is abducted by the stranger, Kelly tries to stay calm to help the FBI to catch the criminal.

"Experiment in Terror" is an above average thriller from the early 60's in a noir style directed by Blake Edwards and with Glenn Ford, Lee Remick (whom we all miss so dearly) and Stefanie Powers on the lead roles. The story has flaws but the storyline is excellent and Ross Martin performs a great villain. When Lee Remick's character Kelly is attacked for the first time, her eyes are impressive even in a black- and-white film. My vote is seven.

Title (Brazil): "Escravas do Medo" ("Slaves of the Fear")

"Experiment in Terror" is a superb example of how to scare the hell out of you without a trace of gore, blood or gratuitous violence. For all intents and purposes this is a police procedural where the aim is to track down a stalker/blackmailer/murderer. Filmed in black and white the film revels in darkness and uses it to create its more unsettling moments. Imagining what we are barely seeing in the dark and letting our imaginations run wild is scarier than seeing a graphic depiction. Ford and Remmick turn in excellent performances under Blake Edwards' deft direction. Best of all is Ross Martin as the world champion heavy breather. Martin is generally known for more lighter roles but his rather sinister turn here is very fine. Stark photography, often at night, and a subtle yet unsettling score by Henry Mancini are icing on the cake. To be watched with the lights out.

Since my exposure to Blake Edwards beyond his comedies has only been `Days of Wine and Roses', which is one of the most depressing films I've ever seen, I wasn't sure what to expect in the way of a thriller from a director who I largely respect. `Experiment in Terror' which stars Lee Remick and the always great Glenn Ford, turned out to be an outstanding and slick film which was thoroughly enjoyable.

While the story, about a bank teller who is threatened with the kidnapping of her younger sister if she doesn't steal 100K from her employer, and the FBI agent (Ford) who tries to both protect her and find out who the extortionist is, does not rely on cheap thrills in order to create suspense. Rather, the black and white film and noir-like shadows help build the tension while not taking away from the story. The cinematography is extremely crisp, and, like many well-made noir films of the 40's-mid 60's, you can almost imagine each frame as a beautiful photograph.

While I'd never heard of this film until coming across it on one of the movie channels, it is well worth looking for.

--Shelly

There are so many things to praise about this frightening little picture. The performances are uniformly excellent. San Francisco is captured in a 40 year old time capsule yet the fear and terror are as vivid in 2002 as they must have been in 1962. Ross Martin is an able and elusive villain with some ability to engender loyalty in friends. As has been noted, the terror visited on Lee Remick's character Kelly Sherwood, is real and intense and persistent. In an age that equates terror with fanaticism and major special effects, all that this little noir required was poor breathing, a telephone, skilled camera work, great performances and a slam-bang script. Bravo.