Une femme dans une cage

Olivia de Havilland looks a little uncomfortable in this shocker, a debut feature from a director who had previously worked in TV suspense shows (including 'The Untouchables', also criticised for its violence). Not only does she have to perform for most of the film from a lift cage, but has to contend with a purple script, and participate in scenes of violence and degradation entirely alien to her screen persona to date.

This is a film angry and ugly in equal measure. Jet planes fly overhead unconcernedly as Mrs Hilyard is tormented, just as cars have already driven past blind to the dead dog laying outside her house. A young black girl runs her skates up the injured legs of a fallen drunk. Women are either helpless (Hilyard), nympho druggies (Elaine) or faded whores (Sade). Men are drunks (Brady), mummy's boys (Malcom) or worse. It is a world full of indifference to the plight of others, of strangers who are casually cruel, of heat, claustrophobia and malice. Mrs Hilyard herself does not deserve her ordeal, but her snobbery (and self satisfied addiction to appalling verse, principally of her own composition) and expressed distate for the "offal of the welfare state" is hardly attractive. Clearly Grauman intends her predicament to be an allegory both of her personal and social isolation as Hilyard's experience occurs amidst an ominous backdrop of current events (at one point she thinks the bomb has dropped). Now and again the world intrudes through a broadcast or passing plane which places the action in a larger context. This of course is lost on Mrs Hilyard. She is just as much out of touch with with society at large as with her son's emotions. Ultimately her captivity by the Randall gang is merely a physical realisation of what, morally, has long been the case. There's a shot which emphasises this: the masked Randall, Elaine and Essie stare fixedly at Mrs Hilyard over the banisters. The camera pans over from their silent and still faces to the victim's, then over to the window through which the sun appears as a burning globe. Their presence it seems is a permanent, and as harshly pervasive as elements of nature.

This was Caan's debut, and his is quite a presence, stalking panther-like, around the looted home. His sadism and shallow greed, and complete lack of redeeming features, make the greatest impact in a film which is full of such gestures. When burping his contempt for his captive, Caan expresses in a few uncouth noises ("I *am* an animal" he proudly confesses at one point) more than much of the other speechifying put together. The ironic equivalent of Hilyard's poetry, his grunts sum him up as neatly as Mrs Hilyard's affected and dated poeticism does her.

Paul Glass' score is a standout and makes for a stunning opening titles sequence. Its discordance and violence reflecting exactly the film's aggressive, alienated tone - one which, as has been noted by other viewers, anticipates that of 'Clockwork Orange' a few years later. Interestingly during the titles the director's credit appears on a conditioning unit, as if he intends his work to let some fresh air in on the foulness he will uncover. Whether or not he succeeds is up to the viewer to decide, but it doesn't make for an easy ride, and one banned in Finland and Australia. Interestingly his next film was the much more restrained and conservative '633 Squadron' until after a couple more obscure films he retreated back to TV.

Thriller has some contrivances but also enough touches of reality to make it unsettling and disturbing. Olivia is effective as she works up to different levels of hysteria at a believable pace rather than going full bore from the beginning. Ann Sothern is a sad blowzy mess managing to engender sympathy for her character even though she does some disreputable things. James Caan is full of menace and an uncomfortable sexuality in his feature film debut, his simpleton comrades are frightening in their careless disregard for humanity. This is economically directed with a minimum of wasted scenes and a talented cast but the theme of home invasion is to real to provide much in the way of escapist entertainment.

Olivia de Havilland is a "Lady in a Cage" in this 1964 film also starring Ann Sothern, James Caan (in his debut), Jennifer Billingsley, Rafael Campos, and Scatman Crothers. de Havilland is an elegant, wealthy poetess who is recovering from a broken hip and is dependent on an elevator in the house - one of those European types that looks like a birdcage. After her son Malcolm has left for the weekend, an accident outside knocks out the power as she is going upstairs in the elevator. Though she hits an outside alarm, no one who can help hears it. The only ones that hear it? Any thief within a 5-mile radius. A homeless alcoholic (Jeff Corey) is first on the scene; he steals a toaster and alerts a cheap hustler, Sade (Ann Sothern, who resembles Suzanne Pleshette in this film). However, they're no match for the next bunch, played by James Caan, Jennifer Billingsley, and Rafael Campos, who seem like early Mansonites and decide everything is theirs. (Later a third group shows up, and they're the toughest yet.) All the while, the lady of the house sits in the elevator, powerless to do anything about the destruction around her.

This is a harrowing movie, very '60s in its music and the messages are familiar: the urban jungle, druggies, man's inhumanity to man, people not stopping to help, putting themselves and their own agendas first. The de Havilland character is driven to drastic measures - the movie will glue you to your TV set.

The beautiful de Havilland is excellent - as she always is - as the trapped woman who not only has to deal with enemies at the gate but the fact that one of the crooks finds an accusatory note from her son which ends with a suicide threat - and she has no idea there was a problem. "He sounds gay," one of them (Campos) says. James Caan is appropriately frightening, and so hairy it looks as if hair was taped onto his body. Jennifer Billingsley is good as his whacked out, drug-laden girlfriend. Sothern's story has a big continuity hole; it's never resolved. It's always a treat to see her in anything, and she plays this down and out loser very well.

Without de Havilland, this would have been a fairly lousy movie; with her, I think it's a cut above the horror films of other aging, classic film actresses like Crawford and Davis. If there is one thing de Havilland can always bring to a role besides great acting - and I write in the present tense because she's still alive - it's refinement, beauty, and class. Let's hope there's still a role she will agree to play.

Saw this film on TV as a kid for the first time ( The 4:30 Movie on Channel 7 for you New Yorkers old enough to remember that) and it definately startled me and I never forgot it.

The basic tale is about this rich old woman (Olivia DeHavilland)who gets stuck in her elevator which resembles a bird cage in the middle of her living room. A power failure is responsible for her predicament. Three thugs (which includes James Caan as lead thug !) take advantage of the situation and terrorize the crap out this helpless woman (or is she helpless????????).

In my opinion, this film still packs a helluva wallop today despite its age. It has its brutality at points both physically and psychologically. The ending is very violent and still leaves me stunned (my hair is standing up as I write this just thinking about it again). There is one line uttered by James Caan in this movie which had to be considered so offensive back then (about the old lady's son), I still consider it pretty low yet strangely classic as part of the film.

As of this writing, this film comes on AMC once in a blue moon. Catch it if you can. A commendable effort for a 1964 film that i think successfully conveyed that innocent times in America have been forever lost.

Check out the bit part by none other than the bowlegged Scatman Crothers !!!!!!

This a great film - Olivia de Havilland is perfectly cast in the role as well-to-do old lady with perfect hair, recovering from a hip operation, and (s)mothering her vaguely effeminate son who refers to her as "Darling". Her gradual descent into insanity as she is trapped in her "cage" is chilling to watch. She goes from being an uptight fakey Joan Crawford, through to neurotic terrified Shelly Winters (her scene where she rolls her eyes around in horror is CLASSIC), until ultimately she is a crazed Bette Davis...

I loved the shot of the dead dog, and the cars whizzing by, not noticing the alarm bell ringing endlessly. The fact that the whole thing happens in daylight was a good touch. What made this film good is that I didn't know how it was going to end - it seemed just nasty enough to go all out with an amoral ending if it felt like it. No wonder if was banned in the UK when it first came out.

The inevitable comparisons to Whatever Happened to Baby Jane should be made. In some ways this is a superior film - Baby Jane always appeared a little slow and plodding, and should have been cut by about 30 minutes. Lady in A Cage is just long enough, and it kept me gripped throughout.

Forget whether or not this film is philosophy 101. It's a camp classic - and Olivia's naff poetry and observations about cities being jungles are all part of the fun. Just sit back and enjoy it.

As for James Caan - he makes a wonderful debut, which owes a LOT to Brando and Dean. He appears shirtless for a good deal of the movie, and I don't think I've ever seen a pair of tighter jeans on anyone, before or since. He's the icing that makes this movie a very fine cake.