Laikals The greatest movie ever made..!

Breakinger A Brilliant Conflict

Guillelmina The film's masterful storytelling did its job. The message was clear. No need to overdo.

Cissy Évelyne It really made me laugh, but for some moments I was tearing up because I could relate so much.

Claudio Carvalho 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")

Spikeopath Experiment in Terror is directed by Blake Edwards and adapted to screenplay by Mildred and Gordon Gordon from their own novel called Operation Terror. It stars Glenn Ford, Lee Remick, Stefanie Powers and Ross Martin. Music is by Henry Mancini and cinematography by Philip H. Lathrop.Film begins with bank teller Kelly Sherwood (Remick) driving home through night time San Francisco, over head shots capturing the cityscape for backdrop purpose. Henry Mancini's haunting soundtrack hovers over Kelly's car in spectral fashion, until she arrives home in Twin Peaks and enters her garage, things fall silent as she gets out the car. She senses she's not alone, and she's right. A man whose face is obscured grabs her and puts one hand over her mouth, he tells her in his asthmatic voice that he knows everything about her and her young sister, and that if she doesn't do as she is told then pain, misery and death awaits them. She's to steal $100,000 from the bank where she works, he will even cut her in for 20%, what a swell fella eh?It's a brilliant opening, stylish film making meets a thematic atmosphere full of fear, tension and sexual menace. What follows is a superbly crafted movie, a bona fide thriller that is concerned with characterisations, concerned with wringing out maximum amounts of suspense by way of suggestions and conversations, there is no need to spill blood here, the threat and the fear is palpable throughout. The police procedural aspects of the story, headed by Ford's trusty and stoic detective, are played out with intelligence and always hold fascination appeal. Especially as the little snatches of time we spend with the villain leaves us in no doubt about how cruel and vile he can be.Edwards takes his time to build the story, stopping every once in a while to unfurl a special scene to reinforce the drama. Stand outs include a classic sequence in a room of mannequins and a genuinely chilling piece where our villain dresses in drag. Then there is the justifiably lauded finale played out at Candlestick Park during the culmination of a major league baseball game, thrilling in its execution and a fitting closure to the screw tightening approach favoured by Edwards. All the while Mancini's musical accompaniments act as a foreboding presence, dovetailing with the themes and characterisations at work in the play.Visually it's also impressive, filmed in gritty black and white, Edwards uses intense close-ups to ramp up the tension, dallies with angles to enforce emotional turmoil, while Lathrop always keeps the lenses stark, the contrasts rich and the use of angled shadows is most striking. Cast are superb, Remick makes for a strong heroine in spite of the constant peril she faces, Ford is a bastion of strength and virtue and Powers exudes youthful vulnerability without appearing as a whiny adolescent. Then there is Martin, turning in one of the most menacing villain turns of the 60s, it's a lesson in how to play evil without actually being extremely physical. As the character shifts from being a murdering predator to a man of heart who cares for a girlfriend's child, Martin convinces enough to make it a frightening proposition.Highly recommended. 8/10

dougdoepke No need to recap the plot. Director Edwards had a good feel for the bizarre, starting with his seminal TV series Peter Gunn (1958-61), which featured a number of bizarre characters unusual for 50's TV. Here, that flair shows up, for example, with the proto-human manikin scene and with Red Lynch in scary drag. In my book, Edwards was a more innovative force in Hollywood than he's been credited with.This is a decent thriller, a big hit on first release. But seeing it now, it seems much of that initial drawing power came from the many bizarre little touches novel to audiences of the time. Because, as a thriller, the movie is stretched too long and paced too deliberately to be really effective. Add to that a couple of dangling sub-plots—the unexplained manikin lady and the extraneous Asian mother and son—and you may wonder what went on in the writers' room. And, of course, there are those puzzling aspects to the crime, well enumerated by other reviewers. I suspect another reason the film's over-stretched was to accommodate big name Glenn Ford, then at the height of his popularity. He does a good job here as the relentless FBI agent. But truth be told, those sequences could have been profitably shortened with a lesser-known actor since the role is basically a routine cop one. All in all, this is a movie of fascinating touches and parts rather than a tightly sustained whole. Thus, it's still worth seeing. But for good, sharp impact, there are some better ones from that same period still around, e.g. Narrow Margin (1952); Beware, My Lovely (1952); The Killer Is Loose (1956). So catch up with them if you haven't already.

robert-temple-1 This film is a disappointment, despite having the ever-welcome Lee Remick and Glenn Ford in the leads. Although I enjoyed watching them do their very professional jobs of attempting to portray the rather unrealistic characters, I did not enjoy the film at all. It is simply an inferior piece of work and a hackneyed story line. The film was directed by Blake Edwards, and from time to time he or his cinematographer manage some atmospheric shots. There are lots of expressionistic shadows of Venetian blinds in the background of shots (hardly an original idea), and there is one shot near the end looking up from floor level at three men talking, who loom over the camera in an effective manner which heightens the tension. But by and large, this film is a waste of time. The psychopathic criminal who threatens Lee Remick is overdone, the whole effect is corny, we have seen it all before in films which have been much better scripted and better directed than this one. And frankly this genre is pretty boring in any case. The world is threatened by so many psychopaths on a daily basis that it is difficult to have too much sympathy for an arbitrarily chosen single woman and her harrowing ordeal, when whole nations and peoples are going through much worse than that. This film is an overt attempt at exploitation of the horror of menace to try to appeal to an audience and make some money. It has no integrity as a project.