Clevercell Very disappointing...

SmugKitZine Tied for the best movie I have ever seen

Thehibikiew Not even bad in a good way

Kailansorac Clever, believable, and super fun to watch. It totally has replay value.

Coventry I purchased the DVD of "The Desperate Hours" many years ago, I think right after I saw the Michael Cimino 1990 remake, but then I completely forgot about it. Recently I was reminded of the film again after seeing the low-keyed and obscure thriller/drama "The Shadow on the Window". That film came out in 1957, two years after "The Desperate Hours" and unmistakably borrowed many ideas, scenes and character specifications from this film. It's based on a Broadway Play, like so many movies from the fifties that are considered to be great classics. The list is nearly endless and truly versatile in terms of genres as well, like "A Streetcar Named Desire", "Dial M for Murder", "Cat on a Hot Tin Roof" and even "The Bad Seed". I think this is a prototype example of a simple and straightforward film that is only catapulted into the league of cinematic classics thanks to the stellar performances of the ensemble cast; and the two giant male lead stars in particular. William Wyler was a genius director and his work here is definitely competent as well, but you can't deny the direction often feels routine and mechanical. The plot is powerful as well, what with its themes of terror and paranoia lurking beneath the foundations of the typical American dream-family, but the scenario is never groundbreaking or controversial. No, instead, the true difference is made by each and every single one of the players. Humphrey Bogart masterfully returns to the type of character that he depicted repeatedly in the 1930s: a villain without redeeming features whatsoever. Bogart stated afterwards that he was too old for the role, and he may be right, but that doesn't keep him from giving away another unsurpassable performance. It may sound like a cliché, but actors of his caliber simply don't exist anymore nowadays. Speaking of clichés, Frederic March's character – the protective father – is very stereotypical, but he also manages to put down a monumental performance. It's not easy standing in the shadows of Bogart and March, and therefore I simply must also give a lot of separate praise to the rest of the cast. Dewey Martin and Robert Middleton are excellent as the accomplices, and I particularly wished to see more psychopathic outbursts of Middleton's character Kobish. Martha Scott is also memorable as the petrified mother and even the seemingly miscast Gig Young is more than adequate.

SnoopyStyle Daniel C. Hilliard (Fredric March) is the head of a suburban nuclear family. Ellie is the stay-at-home mom. Teen Cindy is dating Chuck Wright. Ralphie is the rambunctious son. Escaped convict brothers Glenn (Humphrey Bogart) and Hal Griffin along with the destructive Simon Kobish find Ellie home alone and take over. As the family returns, they are all taken hostage as Glenn waits for his money and girlfriend. The situation gets extended into days as the police net widens and the gang blackmails the family to maintain an outward appearance of normality.Bogie often played vicious gangsters or roguish heroes. In this one, he plays the criminal comfortably. March as the father is a little too outwardly defiant even as he submits to Glenn. It's hard to believe that Glenn doesn't tie the boy and the mother up especially after the first revolt attempt. That part kept gnawing at me all the way through the movie. Overall, this is workable thriller with solid actors.

jpdoherty One of the last of the great film noirs came in 1955 in the shape of THE DESPERATE HOURS. Although it was filmed in Paramount's own widescreen process of Vista Vision it at once established itself and maintained its arresting noir look through its stylish use of black and white cinematography - courtesy of the great Lee Garmes - and masterful direction of William Wyler. Adapted by Joseph Hayes from his novel and play the picture also boasts a terrific cast headed by Humphrey Bogart, Fredric March and Arthur Kennedy. With a nod to his Duke Mantee in "The Petrified Forest" (1936) Bogart, in his next to last film, is superb in the kind of role he knew so well, that of the hard boiled criminal.Three escaped and armed convicts, led by notorious Glenn Griffin (Bogart), take over a house in middle class suburbia and hold the Hilliard family at gunpoint until the mail arrives the following day containing their getaway money. In the meantime the terrorized family must carry on with their everyday routine without arousing anyone's suspicions. With the police hotly on the gang's trail and closing in - the family little by little - begin to make attempts to outwit their unwelcome guests, gain the upper hand and thwart their plans. After two of the convicts are shot dead by the police the picture ends in a stunning sequence with the husband (March) confronting and fooling Griffin with an empty gun before the police marksmen, under huge arc lights, gun him down in a hail of gunfire in Hilliard's own front lawn.Thanks to Wyler's adroit direction, his genius for camera angles and set-ups, brilliant crisp cinematography and great performances THE DESPERATE HOURS is more than a neat little thriller. Suspense is maintained throughout at a very high level. Wyler's film proceeds with commendable energy and intensity. Mesmerizing is Bogart as the unshaven dishevelled sneering and dangerous leader of the three fugitives. His Glenn Griffin is one of his great and most underrated performances and should have at least earned him a nomination. Excellent too is the wonderful Fredric March as the beleaguered husband and father Dan Hilliard (Spencer Tracy was originally slated to play this part but neither he nor Bogart would accept second billing). Also good is Martha Scott (Judah Ben Hur's mother in Wyler's 1959 epic) as the wife and mother, the likable and ill-fated Gig Young as the boyfriend of Hilliard's daughter (played by pretty Mary Murphy). And there's an extraordinary performance from the rotund Robert Middleton as Kobish the violent, unscrupulous and giggling puerile convict.One disappointing aspect of the picture though is the sparse music score by composer Gail Kubik! There is an impressive raw pounding theme over the titles but no more music is heard then until towards the end of the picture. Kubik, a noted conductor, violinist and teacher was more akin to scoring shorts and documentaries and had scored only one other feature "C-Man" in 1949. It is quite extraordinary that Wyler didn't use a more established movie composer. He had always made great use of music in his films i.e. Max Steiner for "Jezebel" (1938), Alfred Newman for "Wuthering Heights" (1939), Hugo Friedhofer for "Best Years Of Our Lives" (1946) and of course later with Jerome Moross for "The Big Country" (1958) and Miklos Rozsa for "Ben Hur" (1959). THE DESPERATE HOURS must be Wyler's shortest and least involving score. However the minimalist score not withstanding his DESPERATE HOURS remains a stunning evocation of the best that ever there was in crime movies. Taking the picture's main premise Michael Comino remade the movie in 1990. It was a valiant effort spoiled by the excessive and over stylized performance by the irritating Mickey Rourke in the Bogart role - diminishing the fine portrayals of Anthony Hopkins as the husband and the excellent characterization by David Morse in the Kobish role. Ultimately though the picture, lacking the required tension and atmosphere, was little more than a pale imitation of the original.

sandra small The Desperate Hours is an intelligent film that has brought fourth cerebral comments on IMDb. Moreover, it is a turning point in character study contextualised within suburbia that became a blue print for film adaptations such as A Clockwork Orange (1971) in which gang culture ravages suburban life and its automated, docile acceptance of routine.Therefore, whilst being a prism for highlighting the conservative lifestyle of suburban America, The Desperate Hours is a rude awakening of the human condition. In other words, Glenn Griffin (an adeptly accomplished role by the great Bogart) and his criminal gang on the lam rudely awaken the consciousness, and as such re-install the human which was lost to the clockwork robots of suburban families as in the example of the Hilliards.As in The Stepford Wives (1975), the suburban woman submit to being chattels, as portrayed via home-maker and wife Eleanor Hilliard (Martha Scott). Indeed Eleanor's subordinate position is highlighted when her husband Dan Hilliard (the brilliant Fredric March) informs Griffin that his wife is not Griffin's servant. Note, Hilliard doesn't say "a servant" and thusly implies that his wife is actually HIS servant. This also implies the 'ownership' of women by men, in a patriarchal family.Another commentator has suggested that Griffin is regretting his criminal lifestyle and envying the suburban secure,lifestyle of the Hilliards. Conversly, why would Griffin want Hillard's humdrum suburban lifestyle? Indeed, it is Hilliard that envies Griffin's courage to be insubordinate, albeit perhaps not the apparent immoral methods he utilises in this process. Indeed, the lacking of opportunity has culminated in a rebelliousness within the context of felony by Griffin and his cohorts, which has usurped Hilliard's perceptions and pre-conditioned comprehension of criminals propagated by the media.Perhaps Hilliard views Griffin's none-conformity to the suburban ways of the middle classes as a punishment, as opposed to any criminal act the latter has committed. Accordingly, Hilliard should be thankful for awakening his consciousness. Can this family ever be the same again? At least they should be less conformist, and at most rebellious.The Desperate Hours is a showcase of lamented talent as in Wyler for his outstanding direction, and Bogart and March for their equally brilliant leads. There is also some resplendent turns by the supporting cast with particular mention to Walter Baldwin (the refuse collector) for his convincing portrayal of the frightened 'everyday man' of suburbia. Special mention should also go to Robert Middleton in the part of psychopathic murderer,Sam Kobish.The Desperate Hours is deeply intense, and intelligently realised and brought to fruition by all involved.