Os Fabricantes do Medo

This low-budget 50's thriller has a treatment standard for its time, but the premise is fascinating. Dana Andrews plays Alan Eaton, a veteran of the Korean War who comes home (after years of being brainwashed as a POW.) When he returns to his Public Relations firm in Washington, DC, he is surprised to find it has been sold by his former partner, who later died; his own name has been retained only for the goodwill value he had generated. Soon after, he comes to suspect that the firm no longer uses polls and surveys to shape its PR campaigns, it conducts its surveys in accordance with a hidden agenda and shapes the data to meet its own demands. By the end of the film, the entire conspiracy (and its plot to get a man elected Governor) is exposed. Americans are free to believe everything they read, once again.

Everything about the movie is just what one would expect from an inexpensive thriller from the era, and that's not bad at all. Probably the most appealing character is played by Mel Torme (Andrews is much too surly - and for good reason - to capture audience sympathy), a number-cruncher who remains oblivious to the moral implications of the data he is massaging for his employers. His best moment comes when he picks EXACTLY the wrong moment to strike up a conversation with Marilee Earle; the audience knows she can't possibly tear her attention away from a task she has been sent to perform, but we all know how it feels to want to break through another person's preoccupation.

Thematically, the film bites off more than it is prepared to chew. The premise (that some distinct group may control a substantial part of the information we Americans receive every day) is both disturbing and plausible. We do our best to make sure that no single source can exert too much power over information, but we can never be sure just how much of the data we believe to be factual, is actually cooked up by people with an agenda. Exposing one conspiracy (as seen in The Fearmakers) does not stamp out all such conspiracies at once, and the film offers no hint of assurance that the public will be any wiser, the next time information is manipulated. One may extrapolate that there is a terrible danger in trusting ANY source of information, but no solution is suggested.

A minor disappointment comes from another important topic that is introduced at the beginning and then thrown away: Eaton's brainwashing. He has apparently been subjected to gruelling torture and mind control in the recent past, but it has no effect at all on his behavior except to make him grumpy and subject to sudden headaches. Basically, this is used as a plot device which allows the bad guys to get the upper hand at times, but nothing in the story really turns on it. Perhaps after seeing The Manchurian Candidate, one's expectations are set too high; certainly one can't fault the scriptwriters, as the novel had not yet been published.

The most unfortunate aspect of the movie is that a 1950's happy ending is predetermined. By the 1970's, filmmakers would be comfortable creating conspiracy stories with darker endings, and today it is difficult for viewers to accept a movie in which a problem like this one is completely solved. By current standards, the last few minutes of The Fearmakers are dreamlike and childish...and perhaps this explains some of the film's charm. I'd love to see a remake of the movie, set once again in the 50's, nearly identical right up to the end, and then have Alan Eaton wake up to discover that the conspiracy has NOT been neatly wrapped up at all. It's enjoyable to imagine a finale in which he runs, Kevin McCarthy-like through Washington DC, grabbing away people's newspapers and shouting "Where do they get their facts? Where do they get their numbers?" Who knows? Seems like they're making a lot of remakes these days, and this one would be do-able with a small budget...

This film is a condemnation of public relations at its worst. As one character says, "taking public opinion is useful; making public opinion is dangerous". This seems to call forth the idea of "engineering consent", an idea that Edward Bernays first published in 1947.

We also have the concepts of "pre-written law" and "fake front groups with high-sounding titles". With that, we see a strong parallel between Communist infiltration and modern-day political movements. And the groups could be left or right-leaning. There is much talk today (2013) of ALEC writing bills and groups like Americans For Prosperity that are little more than a tool of Charles and David Koch.

The film calls out the danger of misleading polls, and the difference between advertising and politics. What was seen as a danger in this film is now standard practice fifty years later. A candidate is "sold" to the American people and polls rarely get to the heart of any matter. Like the discussion in the film about "Jews" and "labor unions", the lobbyists and advertisers know how to target narrow segments of the population...

Jacques Tourneur biographer Chris Fujiwara says Tourneur's later films, including this one, "fall short of the standard of his prior work." He says Tourneur himself "thought the film was a failure". To say this is a challenge. From the point of view of directing and cinematography, this might not reach the level of "Cat People" or "Night of the Demon". But the message is so powerful that the direction almost becomes secondary.

Could this be a forgotten gem in need of a new release?

Just watched this on TCM. A problem I've always had w/Dana Andrews is his self-righteousness, but this 'red scare' film does raise concerns that are far more appropriate today regarding how pollsters & PR firms manipulate/create news & opinion versus measuring it. However in this film, the media (Washington Post reporter) & an 'old school' senator (you know, the ones that used to have a conscience & scruples) are the good guys. Nowadays, that just isn't very realistic as the media, political parties, representatives & lobbiests are all part of the Washington propaganda machine, only interested in retaining & growing on their own power base. But I digress. Look for Mel Torme in ridiculous Coke-bottle glasses. Also, DC-philes will enjoy all of the familiar landmarks with far cooler cars surrounding the city. Overall, not a waste of time. I give it a '6'.

Despite the fact that it's a B movie,"The Fearmakers" from 1958 is absolutely fascinating to watch today. Directed by Jacques Tourneur, it stars Dana Andrews, Dick Foran, more well-known for westerns, and -- get ready - Mel Torme! And he was good! Andrews plays Alan Eaton, a public relations firm co-owner who fought in Korea and spent time in the enemy camp being tortured. Now back home, he suffers from headaches and blackouts occasionally. When he arrives at his old company, he finds out that his partner died and that the power of attorney he gave his partner was used to sell the business out from under him to Jim McGinnis (Dick Foran). McGinnis offers Alan a consultant job, and he is encouraged to take it by a Senator friend, who suspects shady business in the firm and wants Alan to check it out.

Here's the shady business. The firm is suspected of using skewed polling data to make certain politicians look good. Alan has plenty to say about the way questions are asked in polls, and to whom, and he also has some things to say about lobbyists. Anyway, he needs to get his hands on the cards that apparently list the people polled or how they were chosen. He's also suspicious of his partner's "accident" and wants to gather information about that.

Of course, today we call these shady people campaign managers, marketing people, Karl Rove -- I sat through the conversation about special interests and polling and thought I had entered the Twilight zone. I had -- it was 1958, and this guy had ethics that don't exist today since the types of things being referred to are acceptable.

This film seems short for the material, and there are too many coincidences in the script to make it not totally believable. Andrews does a good job, but by this point had hit the skids - gone were the big 20th Century Fox films, possibly due to his alcoholism. Though he continued to act, he became a very wealthy real estate man and began speaking for the National Alcoholism Council in the '70s. He also served as President of the Screen Actors Guild. Dick Foran is appropriately slimy, and Mel Torme is excellent as an assistant who knows too much.

Very interesting movie to view given today's political workings.

Overlooked when first released among the mass of Red Scare pictures, in retrospect, it was ingenious (not to mention prescient) to treat this theme in the form of a corporate thriller. That said, Dick Foran's ruthless villain-in-a-suit is kind of weak (given the title), especially since he is flanked by such stereotypes as burly thug and fidgety geek (effectively played by crooner Mel Torme')!

On the other hand, Tourneur regular Dana Andrews (for whom he had just starred in the occult masterpiece NIGHT OF THE DEMON [1957]) is in good form as the distraught Korean War veteran met with betrayal and hostility when trying to return to his job as an honest pollster. Aiding him is an elderly statesman, a crusading journalist (who actually does very little to further his cause!) and Foran's sweet-natured secretary (who obviously feels, and then falls, for our hero). Though not exactly a noir, the pervading mood of this one is quite similar (in fact, it proved to be the director's last in that style) in view of the double-crosses, the investigation, the beatings and the seediness of some of its settings.

As a sop to the superiority of the American Way (and the integrity of decent folk), the climax takes place beside Washington's famed Lincoln memorial – with Andrews felling Foran via a series of karate chops (perhaps a nod to BAD DAY AT BLACK ROCK [1955]). This, however, rather suggests that the former ultimately benefited from his tenure as a P.O.W. in the hands of the Chinese (incidentally, the film came out a good four years before THE MANCHURIAN CANDIDATE [1962])! Ultimately, therefore, once one gets past the disappointment that this is not going to deliver on the promise of brainwashing episodes displayed in the opening credits, this emerges an above average thriller nevertheless.