obsession ( 1949 film )
. adelaide: national library of australia. 27 april 1949. p. 16
ingmar bergman ,
på förekommen anledning
, dagens nyheter, 5 april 1949 .
hitchcock - a film preservation, for the love of film, blogathon post .
11 c. a. lejeune, in: observer, 6. 2. 1949 .
12 anon. , in: news of the world, 6. 2. 1949 .
since 1949, opha has served as a catalyst for development in the public health sector .
there are no featured audience reviews yet. click the link below to see what others say about obsession !
3 “they made me a fugitive” (1947), “dancing with crime” (1947) and “obsession” (1948) .
the cast of
julius caesar
with director curtis canfield (center), 1949. archives and special collections
the amherst college masquers, performing “julius caesar” at the folger shakespeare library, 1949. amherst college archives and special collections
i know what you are thinking. obsession (1976), the hitchcock - inspired horror film by brian depalma about reincarnation, may not be his most respected work, but it is hardly forgotten. and, then there is luchino visconti’s italian version of the postman always rings twice, ossessione (1943), which is often listed in film history books, so it has not been forgotten. but, have you heard of the 1949 british film called obsession? or, perhaps by its alternate title, the hidden room? yeah, me neither .
in 2012, archives and special collections featured the 1949 performance of
julius caesar
on their blog, the consecrated eminence .
obsession ...
the youtube account associated with this video has been terminated due to multiple third - party notifications of copyright infringement .
the setting is a rain - slicked street in downtown los angeles in 1949, four years after the end of world war ii .
crew: (b & w) widescreen. available on vhs. extract of a review from 1949. running time: 96 min .
) was the first film directed by edward dmytryk after he relocated to england after being blacklisted. made by independent sovereign films in 1949, it’s a superb british psychological thriller with a definite tinge of noir to it .
ruth ann steinhagen shot philadelphia phillies first basement eddie waitkus in 1949. barbara hershey, right, played a character based on her in the 1984 film,' the natural.' (©tristar pictures / courtesy ever )
an unexpectedly good thriller, obsession is the story of a man who plans to kill his wife’s latest lover, committing the perfect crime. robert newton is great as the devious doctor, his rational creepiness makes this a fascinating psychological film .
waitkus, on june 21 1949, walking for the first time since the shooting with help from nurses at illinois masonic hospital in chicago. (ap )
the story, with its elements of obsession, mystery, insanity and a baseball star, made it part of both chicago' s colorful crime history and rich baseball lore .
christianna brand’s novel green for danger is even better than the film, though the film adaptation is very good. if you have a taste for this kind of film, you’re almost certain to have a grand time .
jubin hu. projecting a nation: chinese national cinema before 1949 (university. hong kong: hong kong university, 2003. isbn: 9622096107. 276 pp .
it' s an exploration of obsession and how it can lead to a person' s downfall ,
kahia said .
we have a lot of attachments in life, and when things don' t go as planned, we have a hard time letting go. it' s up to the audience to decide whether this is a good or bad obsession .
the motive that drives the plot of obsession is simple in the extreme, this is out and out a revenge for infidelity, but the presentation by dmytryk is superbly... read the rest .
philadelphia phillies first baseman eddie waitkus acknowledges fans at shibe park as he stands by gifts given to him in philadelphia in august 1949, two months after the shooting. (ap )
andrew spicer, what cannot be said. „silent dust“ (1949) and the malevolent veteran, in: zeithistorische forschungen / studies in contemporary history, online - ausgabe, 2 (
i highly recommend green for danger. i learned something about britain during the war, while my respect for the british film industry increases with each new film discovery .
but, the dog and cat in this film are amusing, even inadvertently heroic .
we' re working to enlighten, enrich, educate, and entertain through film .
a report titled “special television and radio survey: julius caesar (wnbt )
determined the amount and distribution of viewing during the telecast of “julius caesar. ” households with televisions had two options on sunday, april 3, 1949: a western film or amherst' s production .
thomas f brady hollywood. . (4 september 1949) .
hollywood wire: dmytryk reports on his year in england - - story for sale - -' annie' goes again
.
in obsession (marketed in the usa as the hidden room) newton’s psychiatrist character, dr clive riordan of london, is a quietly erudite and urbane professional with a passion for model trains and a distaste for emotional outbursts .
we' re not acquainted, but i have something of importance to speak to you about ,
she wrote in a note to him after a game at wrigley on june 14, 1949 .
shooting began on 16 november 1948 and came to an end on 4 march 1949. an important contribution was made by actor and fellow director hasse ekman, who had previously taken a hand in bergman' s adaptation of a ship to india. bergman in images: my life in film :
thanks for the praise. he is a sweet little life force in a dark film .
* note this film contains mild nudity and sexual content appropriate for ages 14 and up .
this neatly packaged film noir is proof that you don' t need violence to create tension .
the animals in film blogathon has now arrived – in the good old days of classic hollywood .
orson welles in the third man: ‘dominates the film both by his presence and his absence’ .
$ 8. 50 aspen film members, $ 10. 75 general admission, $ 8 seniors
production country: sweden swedish distributor (35 mm): terrafilm swedish distributor (dvd): studio s entertainment laboratory: film - labor production company: terrafilms produktions ab aspect ratio: 1, 37: 1 colour system: black and white sound system: aga - baltic original length (minutes): 78 censorship: 075. 006 date: 1949 - 03 - 18 age limit: 15 years and over length: 2160 metres release date: 1949 - 03 - 19, astoria, stockholm, sweden, 79 minutes
on sunday, april 3, 1949, the amherst college masquers made television history. nbc broadcast their performance of
julius caesar
to 17 cities nationwide, marking the first nationally televised performance of a shakespeare play .
in edward dmytryk’s obsession or the hidden room (1949), robert newton (just a year from being immortalized as long john silver) plays the wronged hubby, one dr. clive riordan, , a scientist married to the flagrantly unfaithful storm (sally gray). newton inhabits the role with a calm menace, having worked out every detail of his plan to get away with murdering bill (phil brown), storm’s most recent paramour, a very nice american fella .
$ 8. 50 aspen film members, $ 10. 75 general admission, $ 8 seniors –
the 1949 amherst
olio
attributes the production’s success to “the elaborate creation of shakespearean era atmosphere by means of a 17th century stage design and costumes that reproduced the setting as it might have appeared in the globe theater .
obsession plays out like you would imagine (especially at the end) but that doesn' t make it any less enthralling. it gets off to a bit of a slow start, but gradually picks up as we gain an understanding of the characters involved .
nick carraway, a young midwesterner now living on long island, finds himself fascinated by the mysterious past and lavish lifetyle of his landlord, the nouveau riche jay gatsby. he is drawn into gatsby' s circle, becoming a witness to obsession and tragedy .
title: drömmen composer: erland von koch (1949) comment: instrumental. title: blott en dag, ett ögonblick i sänder composer: oscar ahnfelt (1872) lyrics: lina sandell (1865) comment: sung by unknown man. title: vandringen composer: erland von koch (1949) comment: instrumental. title: vart ska du gå? composer: : alice tegnér comment: sung by girl (from a record, musica e19015 - 1942) .
but during steve' s pursuit, his love turns into obsession and his hope collides with reality as he unravels bits of truth with each romantic attempt. after ignoring a friend' s advice, he furthers his efforts and risks destroying his sanity and his life .
chicago (ap) — she inspired a novel and a movie starring robert redford when in 1949 she lured a major league ballplayer she' d never met into a hotel room with a cryptic note and shot him, nearly killing him .
the scenes of torture (involving cigarettes) and suicide were so extreme that swedish censors trimmed the film. the imagery of death masks, dolls, and butchered animals is brilliant preparation for bergman' s later excursions into the world of dreams, and the film - within - a - film device looks forward to persona .
finally, legendary composer nino rota wrote the score for obsession —his first for a film outside his native italy. while his life was less colorful that dmytryk’s, brown’s or newton’s, rota composed over 150 scores for major films from all over the world, including franco zeffirelli’s romeo and juliet (1968) and francis coppola’s the godfather, i and ii (1972 and 1974) .
q: in the great gatsby (1949) did alan ladd wear lifts or stand on raised platforms to increase his height? he appears to be a similar height to other male characters but we know he was very small in real life .
bill georgaris of tspdt has finally decided to start updating his film noir page. this means the old version of…
in the film' the natural,' robert redford played slugger roy hobbs, who was based on waitkus .
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steinhagen, 19, in cook county jail in chicago shortly after the june 14 1949 shooting. at the table is a photograph of waitkus in the hospital. she died of natural causes at 83 in late december 2012. (uncredited / associated press )
and in the 40 or so films he made, he was rarely given a lead role, so this month’s screening of obsession provides an exception, both in that newton plays the protagonist and also that he plays completely against that blustering, piratical eccentric for which he has been remembered .
ingmar bergman' s new film, which he has both written and directed himself, will give rise to essays on film aesthetics. as a film it is different. and all this novelty dazzles the viewer, so that it takes a good hour before one realises that the screenplay is a piece of pretentious nonsense .
nils beyer in morgontidningen
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despite its american protagonist and director, the film nevertheless shows a rare focus on idiomatically british themes and attitudes. jules dassin’s night and the city (a film that was a product of the same blacklisting) shows a thorough disregard for the specifics of the british social scene (and for the geography of london) but obsession is ridden with details that blend noir tropes with the older british modes of detective fiction. when a gun is drawn in this film, it is not simply a quotidian prop as in the american thriller: here it is a statement of intent, the kind of object only a man seriously determined on murder would seek out .
although obsession is not at all a political film – unless you count reactionary comments made by characters at riordan’s gentlemens club (which are surely meant as an amusing dig at old fashioned attitudes). nevertheless, there is something of the filmmaker’s real life plight reflected in bill kronin’s situation; his freedom has been curtailed and his world turned up - side down – if not severely reduced with a view to being curtailed .
and rutger hauer, as well as some of the most emotionally intense action set pieces ever put to film. moreover, a good portion of the film’s appeal lies in its incorporation of film noir aesthetics—shadow - filled, rainy metropolitan exteriors, a brooding yet resourceful investigator hero, retro ’40s fashion—into its dreary, dystopian setting. at one point, the film even boasted a philip marlowe - esque voiceover narration that was thankfully excised from future cuts. once regarded as a failed experiment ,
obsession (aka: the hidden room) is directed by edward dmytryk and adapted to screenplay by alec coppel from his own book and play. it stars robert newton, phil brown, sally gray and naunton wayne. music is by nino rota and cinematography by c. m. pennington - richards .
obsession lacks the striking visual style of dmytryk’s hollywood films of the postwar era, but i did notice that the night photography of london’s dark, foggy streets was suitably atmospheric and similar to those in such hollywood film noirs as murder my sweet (1944). also, i couldn’t help but relate the story of a man trapped by circumstances who is then convicted and condemned outside a court of law to dmytryk’s own situation .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
the plot involved disposing a body by dissolving it in acid. this had similarities to the john george haigh case. accordingly, the british board of film censors refused to grant the film a certificate for a time and its release was held up .
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but newton was also a well - respected and accomplished stage performer, whose true talents were usually captured only fleetingly on film .
not familiar with this film but you make it sound enticing. i see its on youtube will have to check it out .
known in usa as the hidden room, obsession was directed by edward dmytryk (1908 - 1999) and adapted into a screenplay by alec coppel from his own book and play. born in san francisco to ukrainian immigrants, dmytryck (left), had been considered one of hollywood’s rising young talents in the early 1940s .
the confluence of these public events and scholarly trends provided fertile ground for new research. the “historical turn, ” in the wake of poststructuralism and postmodernism, ushered researchers into dusty archives, uncovering long neglected materials, and making new connections. rather than simply being driven by an empirical (or fetishist) obsession with the archive, most scholars in this new quest for chinese film history have sought to ask questions both big and small, conceptual as well as evidentiary. they try to place newfound or old evidence in dialogue with contemporary theoretical explorations within film studies and other related disciplines .
the masquers performed
julius caesar
at amherst before the telecast performance in d. c. originally intending to give six performances, the masquers were
forced to play an extra day in kirby theater because of the demand for tickets ,
according to the 1949 amherst
olio .
this list collects every film from the starting list that became they shoot pictures don' t they' s 1000 greatest films. this…
the plot involved disposing a body by dissolving it in acid. this had similarities to the john george haigh case. accordingly, the british board of film censors refused to grant the film a certificate for a time and its release was held up. [ 12 ]
in both quality of filmmaking and cynicism of spirit. this film not only announced hanson as a filmmaker well beyond his previous work (
in this vibrant, funny, and heartfelt film, a widow and former songstress discovers that life can begin anew at any age .
i heard about this film from a friend and i am so glad i did as its one of robert newton' s best roles .
unfortunately, dmytryk was ordered to return to the united states to renew his passport. once home, he was arrested and sent to prison to serve his sentence for contempt of congress. after a few months in prison, he was called to testify once more before huac. this time he agreed to name names, which allowed him to work in hollywood once more. according to dmytryk’s autobiography, odd man out: a memoir of the hollywood ten, obsession received good reviews and did modestly well at the box office. perhaps that was true in england, but, according to other biographers, obsession was sparsely distributed and poorly received in america because the press had labeled dmytryk a subversive .
one of the few (if any at the time this film was made) films shot in england with new york city' s' little italy
as the locale. this was edward dmytryk' s first film after he had refused to... see full summary »
i am so glad that you talked about this film! i saw it for the first time in 2015 at the noir city film noir festival in los angeles. it was part of a british marriage themed noir double feature with “the sleeping tiger. ” i remember this film as causing feelings of high tension as you not only worried about the man chained in the basement, but were also terrified for the little dog and hoped he didn’t accidentally fall into the tub of acid! kudos to you for mentioning an eminently watchable film that more people should see !
... this film from a friend and i am so glad i did as its one of robert newton' s best ...
fritz lang’s 1924 two - part film of die nibelungen was conceived as an attempt to escape from the prevailing wagnerian interpretation of th ...
thanks for participating in the blogathon, and introducing me to this film. i’ve added it to my “to watch list”. it sounds intriguing .
like a fast - paced burner. it’s not fincher’s most famous film, but it’s absolutely one of the most underrated thrillers since 2000. —
as part of this year’s reunion programming, michael kelly, head of archives and special collections at amherst, presented “ julius caesar: 1949, ” a look back at the remarkable performance. his talk incorporated some of the college’s archival materials from the production, including a full - length video recording of the televised play .
haven’t seen this film in years, but remember enjoying it as an above - average mystery, with sim in a nice change of pace role from his usual dithering fools, or scrooge. it’s a shame he didn’t return to play cockrill in another film, but i see he has the title role in the film adaptation of j. b. priestly’s an inspector calls, which i hope to track down one of these days .
aestheticizes violence without fetishizing it. bullet holes and knife wounds help color the film in dark brushstrokes—such is the coens’ wont—and careful attention to shot composition ratchets the film’s morbid elements to almost intoxicating heights. you’ll want to look away, but the coens keep your eyes glued to their somber fatalism. —
treats redemption as a cruel joke, a spell of relief that lasts only long enough for us to view its obsolescence. the film takes jabs at
prison is no ordinary film. it is the first time that ingmar bergman has made a film in his own right. his own idea, own screenplay, his own design, without the aid of experienced film people. and prison is more bergmanesque than any of his earlier films. here he shows his true colours. it displays clear influences from the 1920s, yet also points from the 20s and 40s towards the future. a remarkable film. the new ways of feeling and seeing that belong to a new film generation have never hitherto been expressed with such consistency and power. no doubt to the great irritation of those conservatives who want the world, including the film world, to stand still, and no doubt to the inner delight of those who want it to move forward. for the first time in 25 years sweden is once again at the developmental cutting edge of world cinema .
orpheus
is a greek myth about a musician who descends into the underworld to reclaim his dead wife, and so enchants the gods with the music of his lyre that they permit her to return to the land of the living - - on the condition that he never look at her. jean cocteau set his 1949 film of the story in modern - day paris, and added twists that would have startled the greeks, especially a romantic triangle with death as the third partner .
a line of inquiry that would have both complicated and enriched the project of projecting a nation is the intertwined questions of capitalism and modernity. the book touches on these only tentatively in chapter 3 on “industrial nationalism, ” and in chapter 6, on the postwar period before the ccp won the civil war and took power in 1949. the relationship between film industry and national culture could be more meaningfully pursued in areas that the author admits to have had to leave out, namely, material registers (such as film technology), aesthetic forms (such as genre formation and cinematic style), and reception (spectatorial expectation and reaction) .
the consequences and cultural shifts that followed world war ii shape the subtext of the film and make it much more sophisticated than a simple murder plot. like
the ballad of narayama
is a japanese film of great beauty and elegant artifice, telling a story of startling cruelty. what a space it opens…
4 for a discussion of britain and france see marilyn butler, film and community: britain and france, london 2004, pp. 98 - 124 .
forty years before the blair witch project popularized the idea of a film being told from the camera’s perspective, actor / director robert montgomery gave this radical idea a spin with lady in the lake, his adaptation of one of raymond chandler’s philip marlowe detective stories. ultimately, the case proves to be minor marlowe and the first - person gimmick does eventually wear thin over the course of the film’s runtime. putting aside these reservations, however, the film is most certainly worth a watch if just to witness montgomery’s sheer audacity and inventiveness. it’s the textbook example of a film being ahead of its time. — m. r .
( 1949) is an unusual little gem of a thriller, a strangely polite and very english story of murder, jealousy, and revenge. it makes the most of its cast and its setting to craft a thoughtful tale of suspense that never becomes showy or overdone, with especially effective use of robert newton and post - war london. in fact ,
joseph losey’s 1975 film the r omantic englishwoman, with a script by tom stoppard and thomas wiseman, is one of those movies that seems to ...
spoiler alert! this essay discusses the ending of the film at length. viewers who want to be surprised by the ending should not read thi ...
enjoyed this film a year ago when tcm aired it. enjoyed it so much i wrote a friday blog about it for our local newspaper, “my classic movie pick”. phil brown - aka bill in this film, went on to play uncle owen in star wars. great choice for this animals in films blogathon !
and los angeles, thus necessitating some creative uses of lighting. this commitment to realism would help perfect the film noir style we all know and love. —
was a rarity in its heyday, though if you didn’t know lupino held the reins, you might not guess the film was directed with a feminine touch .
the germans have a term for movies set among the ruins of postwar cities – “ trümmerfilm ” or “rubble films”. notable in this sub - genre are such pictures of the 1940s as t he murderers are among us (wolfgang staudte, 1946) and germany year zero (roberto rossellini, 1948). the third man, deeply influenced by italian neorealism, is arguably the most significant british example, though it has a close contender in reed’s odd man out (1947), shot on blitzed sites in belfast, and charles crichton’s seminal ealing comedy hue and cry (1947). ken adam, production designer on the early bond movies, cut his teeth working on rubble films such as obsession (1949) and ten seconds to hell (1959) .
as far as kelly can tell from the archives, the first full - length shakespeare play to be staged at amherst was the taming of the shrew in 1908. “by the time we get to the 1949 production of julius caesar, ” kelly says, “we’ve got a solid group of both students and faculty who are working on making these things happen. ”
is a fine example of high - quality british film noir, well - made and extremely well - acted, and both the movie and the dvd are highly recommended .
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plays with noir tropes more than he plays to them, deflating film noir’s inherent machismo by revealing the chief heavies of his cast as scrabbling cowards. depending on your mood ,
i' ve seen this film before and was looking forward to watching it again but the disc supplied will not play on my dvd player - disappointing and a waste of money .
would probably have enjoyed enduring fame had it featured bigger stars or a different director, but don' t let its obscurity dissuade you from spending some time with this unique film .
kahia is particularly proud of the scene where the lead and supporting actors confront one another in a hallway during the climax of the film, noting their complete commitment to the characters .
“ this ingenious and affecting film is strange and intense, but not exactly scary in the expected horror - movie manner. ” –a. o. scott, the new york times
film rights were bought by british producer noel madison. he also bought the rights to two other thrillers, four hours to kill by norman krasna and the last mile by john wexley .
is the coolest melville film of them all; odds are, it’ll land upright, because that’s an impossible distinction to make. melville films pulse with ineffable cool. in the case of
aged terribly. you wouldn' t miss anything if you just listen to the dialogue in this film except the fact that the main character has a huge model train set for some reason .
it' s easy to imagine more illustrious stars in the roles, but each actor in the film delivers a compelling performance. newton, a character actor best remembered as long john silver in
my playground for reviews and considerations of mostly classic, noir cinema. you' ll also find blogathon posts and whatever else takes my fancy. i' m also @ bnoirdetour on twitter, and i host weekly livetweets of film noir that we all chat about and riff via tweets while watching the film via youtube, archive. org, and other free sites. join us !
obsession, based on the play' a man about a dog', is the story of a psychiatrist exacting revenge on his wife and her lover by commiting the perfect murder. keeping the lover in an abandoned bomb site for several months he goes about covering his tracks and making sure he can dispose of the body without leaving any trace. its simplicity is the key to the films brilliance. this is not a traditional thriller, there are no chases, there are very few twists and turns and there is no conflict of conscience. what the film does is take the audience into the inner workings of how to conduct a perfect murder and does so with wit and staunch britishness .
always left - leaning, he had been a communist party member briefly during world war ii so was subsequently called to testify before the house un - american activities committee and asked to named others. when he refused, he was identified as one of the so - called “hollywood ten” in 1947, which meant he would no longer be able to get work in hollywood. consequently he fled to england, where he stayed until his passport ran out. it was during this period that he directed obsession .
film rights were bought by british producer noel madison. he also bought the rights to two other thrillers, four hours to kill by norman krasna and the last mile by john wexley. [ 8 ]
, alex proyas’ 1998 magnum opus serves up a cerebral sci - fi extravaganza as filtered through the visual tropes of film noir and german expressionism. the result is a staggering achievement in imagination that, like
streamline is the official blog of filmstruck, a new subscription service that offers film aficionados a comprehensive library of films including an eclectic mix of contemporary and classic art house, indie, foreign and cult films .
“an earnest, clear - cut drama about the struggle for one woman’s liberation from the shackles of domesticity, puzzle does what it sets out to do remarkably well. ” – jordan raup, the film stage
is a masterpiece. funny to think that american critics looked down their noses at the film at the time of its release. maybe they took offense at the inescapable scent of welles’ passion for rita hayworth, his wife at the time and his ex shortly after production wrapped. he captures her in close - up with a hungry, enraptured eye, the most coherent image in a film that’s built on logical incoherence .
it is a nice little dark film that fits blogathons, apparently. 🙂 if you like (british) noir, it belongs high on the list. and you can find it free on youtube to screen .
then there’s orson welles as harry lime, leader of the gang peddling adulterated penicillin in vienna. he dominates the film both by his presence and his absence. he was difficult to pin down, even for his brief appearances. reed used the time shooting at night, while waiting for welles to show up, to experiment with tilted cameras and surreal shadows in narrow, gleaming nocturnal streets that became one of the film’s hallmarks .
was poorly distributed and ignored by audiences in the u. s. yet, those who seek out the film are rewarded with a taut yet darkly humorous character study of a marriage made in hell and its consequences .
welles, who is remembered most for his innovative work in 1941' s
citizen kane ,
served as inspiration to kahia since directors of that era faced a number of restrictions during a film' s production .
the joy of this film is that both bill and monty survive in tact. riordan is caught, storm goes on a cruise, and though at first she plans to take monty (but not a recuperating bill, who has no more interest in storm), but it’s clear monty and bill belong together. a man’s best friend in this film is neither a cheating dame nor a crazed husband, but a ridiculously cute little dog !
has enormous ambitions that belie its tight running time, the end result of odious studio interference that nonetheless fails to impede the viewing experience. come for hayworth and welles, stay for the film’s dizzying hall of mirrors shootout. —
good time has brought acclaim to the safdies and has been nominated for several independent spirit awards. the brothers were nominated for a palm d’or at the cannes film festival, where the movie premiered and won an award for its score .
kahia, who showed two short films ,
valedictorian
and
masterpieces ,
at the newport beach festival in 2012 and 2010, respectively, was invited back to the eight - day event to premiere his feature - length film .
to limit costs, kahia and the film crew shot
call of the void
in four days in and around downtown los angeles. to prepare for the tight filming schedule, kahia spent about four months planning the shots and layout .
shot in secret entirely within the hasidic community depicted in the film, and one of the only movies to be performed in yiddish in nearly 70 years, menashe is a warm, life - affirming look at the universal bonds between father and son that also sheds unusual light on a notoriously private community. based largely on the real life of its hasidic star menashe lustig, the film is a strikingly authentic and deeply moving portrait of family, love, connection, and community .
leave it to the master of suspense to meld docudrama realism with the melodrama of film noir. “ alfred hitchcock ’s powerful portrait of a man … drawn from life! ” the wrong man ’s original trailer proclaims. it’s to the film’s credit that hitch doesn’t screw around here, telling in full the story of a man falsely convicted for robberies he never committed. unsurprisingly, hitch is every bit as interested in the effects of the outrageous miscarriage of justice that befalls manny balestrero as he is in the lasting trauma his detention inflicts on him and his family. the wrong man puts a high premium on claustrophobic camerawork—we feel like we’re as confined as poor old manny—but the film’s greatest impression is left in its aftermath. — a. c .
fantastic thriller also called the hidden room, based on the novel a man about a dog by screenwriter alec coppel who adapted it himself. coming close to 60 years now and the film' s concept still holds up as a highly original idea .
) is nonetheless a gripping psychological thriller that builds considerable menace and tension in its bleak trajectory of events. on a visual level, the film (photographed by c. m. pennington - richards) is pure noir but in terms of execution ,
“ the film is worth praising for what it is and admiring for what it’s not — there’s no sappiness or false emotion, and none of the clichéd, quirky misfits who populate so many commercial comedies. ” –ken jaworowski, the new york times
i enjoyed this film too. robert newton is one of my favorite actors. he is such a chameleon! couldn’t get much further from long john than this one! thanks for the review and for reminding me of the importance of man’s best friend .
, however, lynch took his fascination with the subgenre to a whole other level, depicting a world where a character’s interior life influences not only the film’s visual style but its narrative structure as well. in the first great performance of her illustrious career ,
i remember your bringing this to the mad scientist blogathon, but i still haven’t had the chance to see it, for whatever reason. if you’ve mentioned this film in two blogathons, i need to put it at the top of my must see list !
director edward dmytryk made this film soon after fleeing the us when he refused to testify before huac regarding alleged communism in hollywood. i can’t help but think in allegorical terms about this film, with dr. riordan standing in for the malevolent house unamerican activities committee, storm as hollywood celebrities who supported the committee’s efforts (e. g. ginger rogers, barbara stanwyck, robert taylor), bill as dmytryk, trapped and seeking escape, and monty as those who supported the exiled director, granting him work in england .
christine: the animals come through the movie unscathed. i know what you mean about that. as a rule, i won’t write about a film that shows animals being hurt or abused. if i do, i mention it, so readers have a warning .
variety wrote that the film is slow paced at first but becomes suspenseful. the new york times called it
a first - rate study in suspense and abnormal psychology
. kendal patterson of the los angeles times described it as an early predecessor of fatal attraction .
i wanted to do something different that stood out ,
kahia, 26, said by phone from his hometown of san diego .
i have a love for black - and - white film because there' s so much substance to these stories .
request: new tcm bookstore? please consider offering books which have been adapted to film. i realize that most of these books are out of print. surely, tcm can arrange republication. there are many such books from england that we can’t get in the states .
thanks for the praise – i very much appreciate it. and yes, monty is a cutie! i would never write about a murdered pup for a blogathon! lol also, this is a british film, and their noir is rarely as bleak as hollywood noir .
but the most striking influence that occurred to me only decades after first seeing the third man is its likely debt to eric ambler’s the mask of dimitrios, which turns upon a british thriller writer journeying to istanbul to see a brilliant criminal who has disappeared after faking his death. there are several apparent allusions to ambler’s book in the film (including one by ambler’s friend, carol reed, to prewar istanbul in the film’s stage - setting introduction), and greene includes a chapter from the mask of dimitrios in his anthology, the spies bedside book. during an onstage interview with ambler at the national film theatre in he 1990s, i asked him if he’d ever noticed the resemblance. “i have indeed, ” he replied, but sadly i never got around to pursuing the matter, and ambler died soon afterwards .
“a beautiful femme fatale saunters into an unsuspecting man’s life and entices him into committing murder for her. ” this logline could be used to describe any number of classic film noirs. most of this can be traced back to author james m. cain, who wrote two books—
it' s the story of
call of the void ,
a psychological thriller shot in black and white that will make its world premiere sunday at fashion island' s island cinema during the newport beach film festival. the festival opens thursday and runs through april 28 .
the term “brainwashing” was coined by a journalist named edward hunter, who had served in the morale operations section of the u. s. office of strategic services during the second world war, which he spent mostly in asia, and who became an outspoken anti - communist. hunter’s book “brainwashing in red china: the calculated destruction of men’s minds” appeared in 1951. in it, he explained that “brainwashing” was his translation of the chinese term hsi - nao, which means “cleansing of the mind, ” and which he said he had heard frequently when speaking with europeans who had been caught inside china in 1949, the year of mao’s revolution .
, which centers on two treasury agents who must go undercover to infiltrate a notorious counterfeiting ring. while not boasting any big - name actors or even a particularly novel story, the film is noted for its inventive cinematography, with mann and cinematographer john alton deciding to shoot several scenes on location in
the fact that the prostitute in the film, birgitta carolina, had a job at the well - known epa department store, caused some annoyance among the staff of the actual shop. as one of the union representatives put it in dagens nyheter :
we have exactly the same salaries as equivalent staff working for other employers, so we do not need to walk the streets to support ourselves .
the manager of the store also expressed his views, and shortly thereafter the film' s director felt obliged to enter the fray, which he did in the same newspaper three days later :
finally tracked down the hidden room–a friend is sending it to me. speaking of hidden rooms: are you familiar with the horrifying case of h h holmes? scorcese is making a film with leonardo dicaprio. if he does it right (and i’m sure he will) it’ll be hard to watch .
variety wrote that the film is slow paced at first but becomes suspenseful. [ 13 ] the new york times called it
a first - rate study in suspense and abnormal psychology
. [ 14 ] kendal patterson of the los angeles times described it as an early predecessor of fatal attraction. [ 15 ]
we’ll start with the following 100 titles. some 70 years after the term “film noir” was first uttered, take a trip through the screwed - up terrain of the mid - century psyche, with all its sex, lies, and crime scene tape. let’s get going—don’t say we didn’t warn you. — amanda schurr
was in the uk after being blacklisted as part of
the hollywood ten
who refused to testify before the house un - american activities committee. he was granted a work permit in the country by the ministry of labour as part of a
directors quota
in place to protect film industry jobs in the uk.
obsession , released in the us as the hidden room , is a 1949 british crime film directed by edward dmytryk , based on the book a man about a dog by alec coppel , who also wrote the screenplay for the film , and turned the story into a novel . obsession was entered into the 1949 cannes film festival . 
obsession, released in the us as the hidden room, is a 1949 british crime film directed by edward dmytryk, based on the book a man about a dog by alec coppel, who also wrote the screenplay for the film, and turned the story into a novel. obsession was entered into the 1949 cannes film festival.
obsession, released in the us as the hidden room, is a 1949 british crime film directed by edward dmytryk, based on the book a man about a dog by alec coppel, who also wrote the screenplay for the film, and turned the story into a novel. obsession was entered into the 1949 cannes film festival.