Uma Sombra em Nossas Vidas

"Five Miles To Midnight" is a thriller with very few thrills. It does, however, offer some redeeming qualities which make it worthwhile for select viewers. Unlike many of the reviews posted here, I don't think the film is miscast. Anthony Perkins may not fit the description of a physical brute, but his persistent neediness is just as controlling and abusive. Creating such an unlikeable character is a complete reversal of Norman Bates, who was so endearing you almost wanted him to get away with murder. Sophia Loren not only looks beautiful, but turns in a fine, convincing performance. Remember, English is not her first language, yet her phrasing and tone are utterly real, as are her reactions. No surprise that she was awarded a Best Actress Oscar two years previously. The Paris we see here is not a postcard view, but rather a seedier image captured in stark black and white photography. The fault with this film is the script, which is lazy and weak and squanders an intriguing premise. "Five Miles To Midnight" is still worth a look.

Rather pedestrian, generally slow, and, as others have succinctly noted, very miscast "thriller" about a husband surviving a plane crash and forcing his estranged, unhappy wife into acting like he is dead in order to cash in the huge insurance settlement. Tony Perkins plays the mean, horrible husband - and there are times when his boyish looks and behaviours actually come off as somewhat convincing but more often as not he just seems not up to the part. Sophia Loren - wildly miscast as the downtrodden wife and the wife of this guy to boot. She opens the film doing what has to be the best version of the Twist I have ever seen(she is lovely, absolutely lovely!). But Loren is given really very little to do and she looks so disinterested throughout most of the film until she has some climatic scenes at the end and overacts. There is little thriller here at all - mostly Loren looking unhappy and Perkins smiling and trying to be shocking. Huhhhhh! Sorry I was stifling a yawn. Gig Young, again miscast, plays some former police detective leering at Loren throughout and getting in so to speak to the Italian Zone in Paris. The Parisian backdrops and even the French-themed music are rather nice but I saw the ending coming well before the five mile marker and way before midnight.

The evocative opening scene of Five Miles Before Midnight held promise. I anticipated a moody piece of film noir with an intriguing female lead rather than the usual male. I was also hoping for more of Jean Pierre Aumont, who distinguishes any film he's in, but his role was little more than a cameo. However Sophia Loren, though lovely to look at, does not yet have the dramatic punch to carry off this role, or perhaps she only required better direction. There was ambiguity suggested about how faithful she was to husband Tony Perkins and this could have been put over nicely with a more well seasoned performance. Perhaps it was simply their pairing together--I didn't think they possessed any chemistry. It's hard to believe she ever found anything attractive about Perkins well established immaturity. What woman would? In any case, she doesn't breathe enough life into her character of put-upon housewife and near the film's conclusion, she goes overboard in a frankly unbelievable personality transformation. Also, the "surprise" ending was no surprise to this reviewer, who wonders why she didn't see the obvious way out of her troubles much earlier. It is however, an entirely watchable film and one of those that you kind of like to poke fun at. Certainly there are worse films out there!

You would think that any thriller beginning with Sophia Loren doing the Twist in a Paris nightclub couldn't be all bad! Unfortunately, the plot mechanisms (and red herrings) of "Five Miles to Midnight" nearly defeat Loren, very good as the put-upon wife of a neurotic who has sneakily walked away from a plane crash, hoping to collect on his flight insurance worth $120,000. Anthony Perkins, more nervous and fey than ever, continually bites his fingernail, his face twitching in possessive jealousy, while we in the audience wait in agony for Loren to come to her senses and put him out of his misery. It's hard to determine which element of the picture is more inappropriate: Perkins' icky Norman Bates-isms, Gig Young's leering, Cheshire Cat-like performance as an ex-detective-turned-newspaper man, or Mikis Theodorakis' insanely 'Parisienne' background music. ** from ****

Five Miles To Midnight is another of those Alfred Hitchcock type films that could have been a classic had he decided to do them. I think he was busy with The Birds when this came out.

Sophia Loren is the star both in billing and performance. She's married to former American GI Anthony Perkins and it's an abusive relationship. Perkins has to take a flight to Casablanca, but the plane crashes near Bordeaux and miracle of miracles he survives but is not found.

What a golden opportunity for a little insurance fraud. And a battered Sophia goes along with it. The rest of the film is the masquerade that Loren plays as she pretends he's dead like everyone suspects and what she endures with an increasingly unbalanced Perkins.

When Sophia Loren won her Oscar for Two Women she showed her acting chops and this film also has a lot more to do with Sophia the actress than Sophia the sex symbol. As for Anthony Perkins he started out playing callow youths with issues. After Psycho he started out playing far more deranged characters with issues although his character here is descending into a bit of madness unlike Norman Bates who was one fully formed whack job.

Other men in Sophia's life are Gig Young and Jean-Pierre Aumont. Won't give any ending away because in the end we don't know what's to become of the main characters most especially Sophia Loren.