Synopsis
Three young, empty-eyed killers, without mercy or morals, turn a private home into a house of horror!
A group of escaped convicts holds a household prisoner as the police close in.
1955 Directed by Andrew L. Stone
A group of escaped convicts holds a household prisoner as the police close in.
25 year-old john cassavetes breaks into a house, holds a family hostage, steals the husband's bathrobe, and goes to sleep in the couple's bed, and this family has the AUDACITY to be mad about it??? i'm sorry i cannot relate to these people
You know a kidnapping/ransom movie is a real stinker when the most riveting scenes are them showing how the old timey telephone tracing worked with all these little old men running around a giant room of pistons and wires in order to get even one of the numbers that they then have to hobble all the way back to the other side of the room to yell out to the young guy to get the operator on the line so they can call the police station who has to call the headquarters. RIVETING.
The acting in this isn’t even bad, shout out to young and evil Cassavetes, but it’s such a hokey story with dramatic voice over narration so that the whole thing feels more like a weird after school special than a movie.
Writer-director Andrew L. Stone had a long and interesting career in Hollywood. Although I have not seen his most famous film, the pioneering African-American musical Stormy Weather (1943), it seems to me that the work I am familiar with is more representative of his genre preferences: Julie (1956), Cry Terror! (1958), The Decks Ran Red (1958) and especially the exciting disaster flick The Last Voyage (1960) are dramas bursting with anxiety and thrills, though to varying degrees of success. (I consider Julie one of Doris Day's weakest vehicles.) In fact, The Night Holds Terror and Cry Terror! are extremely similar, telling tales of all-American families held hostage by money-hungry thugs. Neither film ultimately needs to be seen more than once…
Reckless, fear mongering, and judgmental. Such is the nature of the "it could happen to you" subgenre of the 1950s. Be afraid! Trust no one!
But still, The Night Holds Terror is legitimately tense with a lot of hyper-authentic procedural elements. I could make a meal out of that stuff. You have a young John Cassavetes delivering the goods for some mid-grade studio schlock, and you can't help but wonder if he was already thinking about inventing the independent film industry in 1955. Vince Edwards does some good work too. He's stacking up his sociopath cred for Murder by Contract.
Chain Reaction Challenge
39/100
The real life hostage situation that began when Gene Courtier picked up a hitchhiker on his way home from work in 1953 came during a period when Hollywood was obsessed with similarly-themed invasion stories—the thugs from the street were now invading your car, your place of work, and even your home itself! Before William Wyler’s take on the Courtier story made its way to theaters as The Desperate Hours, this low-budget programmer so prided itself on authenticity that it used the real names of the victims and filmed much of the action on location, prompting one of the criminals (portrayed viciously by a young, tightly-wound John Cassavetes) to file a suit with Columbia Pictures. The Night Holds Terror. expands on…
Feels only right to watch John Cassavetes' first film today on his birthday, especially since I watched Gena Rowlands' first just yesterday! Of course he's an evil intense little punk, but I do love to see him steal Jack Kelly's bathrobe and display other sadistic tendencies!
In spite of a seemingly minuscule budget, The Night Holds Terror doesn't look too bad and the acting is surprisingly okay? Personally I would not have cast 28-year-old Jack Kelly as a boring, white picket fence dad though. He was so much more fun when allowed to be slightly unscrupulous in Maverick.
"Those fellas are mean babies!" - said David Cross. No, not that one! The 50's actor playing one of the ruffians. You know, the one that kinda looks, but definitely sounds like David Schwimmer.
Look, The Night Holds Terror is a great title, and John Cassavetes acts decades ahead of anybody else here (which isn't that much of an accomplishment when almost everyone else feels like a cartoon, mind you), but besides some greatly enjoyable old-timey technology and a grounded representation of 50's police procedure (which feels almost like a documentary with that overbearing narration), there's just not much else going on here. And it ain't really a full-blown home invasion thriller, like the description would have you believe, either. Like most films from the era, there's a certain charm to it, I guess...
A gritty and suspenseful crime thriller that builds tension from its opening scene, right up until it ends. John Cassavetes, only in his mid-20s, gives an intense performance as one of the escaped convicts terrorizing the Courtier family.
Two psychopathic punks played by perfectly cast Vince Edwards and John Cassavetes, along with a third punk who is not as crazy as the other two, invade a suburban home and take Gene Courtier (Jack Kelly), his wife, and two children hostage. They are hanging around for the night while they wait for him to sell the family car so they can steal the money. The plan changes when they learn he is the son of a wealthy businessman and demand a large ransom. Going from home invasion to kidnapping drama to police procedural as the cops try to trace the criminals and their captive around Los Angeles, writer/producer/director Andrew Stone, working as usual with his wife Virginia Stone, uses…
Like most of the Stones thrillers, The Night Holds Terror benefits from their methodical style. The authenticity and location shooting makes the tension more felt. It is hold back some by non-descript acting, but it is a very solid piece of true crime.
okay I think I've found a new guilty pleasure because I am seriously not seeing why nobody liked this as much as I did, also John Cassavetes can make anything just a bit better (:
Gene Courtier is on his way back home from picking up some electronics equipment when he picks up a hitchhiker. The hiker in question turns out to be a member of a group of three criminals who regularly hold up travelers in a similar manner. Believing he will die, Gene instead promises a bigger payday than the small amount of cash he has on him by agreeing to help the men sell his car and giving them the money in exchange for his life. This escalates into a situation where Gene, his wife and his two small children are held hostage by the three men, the ring leader and his second with clear intentions of harming the family should they…
Echoes of William Wyler's The Desperate Hours (released three months later) and Ida Lupino's The Hitch-Hiker, all three sprung from similar actual events. There was also 1956's Ransom!, so I take it realistic kidnapping movies were very much in vogue. John Cassavetes is always an interesting presence, even when he's only half-invested, but his baby-face trigger-happy mafia-connected killer lacks the menace, world-weariness, and plain nastiness of a Bogart or William Talman. The film is a lot stronger if not especially surprising in the early going before the police procedure and dull expository social guidance propaganda narration kick in and the focus on the kidnappers is split, but the tension is always discernible. Opening credits (very unusual, by the way, cut…
Was really enjoying the film at first but it loses a lot of steam in the second half, John Cassavetes is great though.
Feels only right to watch John Cassavetes' first film today on his birthday, especially since I watched Gena Rowlands' first just yesterday! Of course he's an evil intense little punk, but I do love to see him steal Jack Kelly's bathrobe and display other sadistic tendencies!
In spite of a seemingly minuscule budget, The Night Holds Terror doesn't look too bad and the acting is surprisingly okay? Personally I would not have cast 28-year-old Jack Kelly as a boring, white picket fence dad though. He was so much more fun when allowed to be slightly unscrupulous in Maverick.
Guy goes into another man’s home and puts on his silk gown and ascot tie. Hell of a bad guy.
You know a kidnapping/ransom movie is a real stinker when the most riveting scenes are them showing how the old timey telephone tracing worked with all these little old men running around a giant room of pistons and wires in order to get even one of the numbers that they then have to hobble all the way back to the other side of the room to yell out to the young guy to get the operator on the line so they can call the police station who has to call the headquarters. RIVETING.
The acting in this isn’t even bad, shout out to young and evil Cassavetes, but it’s such a hokey story with dramatic voice over narration so that the whole thing feels more like a weird after school special than a movie.
Home invasion thriller turns into police procedural halfway through, because it's the 1950s and audiences need reassuring.
25 year-old john cassavetes breaks into a house, holds a family hostage, steals the husband's bathrobe, and goes to sleep in the couple's bed, and this family has the AUDACITY to be mad about it??? i'm sorry i cannot relate to these people
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