The Desperate Hours

source: The Desperate Hours

The novel begins "Out of the fog they came..". Indeed. I remember this movie as being just a terrifically suspenseful ride, from the opening POV shot canvassing the neighborhood for a suitable hideout to the final clash between the two family "heads" over the son's fear and trust. As with any good psychological tale there is a lot here for everyone. What struck me particularly was the mirroring of the two families - one normal with all the right balances (male-female especially) and one totally perverse. One can view the Bogart-March pair as the family patriarchs and the Kobish-Ralphie pair as their respective sons. In fact, Kobish is basically a future Ralphie, should his rebelliousness remain unchecked (read whatever Oedipal theme you wish here). Thus it is entirely consistent that the climactic struggle center around the two patriarchs' power over the son Ralphie. And that at the very center of the struggle should be a gun, well, it doesn't get more Freudian, does it? Plus all sorts of neat tensions and characters. How about the FBI/police as the Superego, trying to resolve the Id(Bogart)-Ego(March) clash it sees from afar? Like I said, there is something here for everyone!

I noticed one reviewer say "Bogey does it again". While I would agree that Bogart did a great job in the picture, I really feel the outstanding role was actually played by Frederick March. Bogey was menacing and that's certainly nothing new. But March, playing a sort of "every man" role who unexpectedly rises to the occasion in the end really stood out for me. It was a sort of metaphor for the capacity within us all to stand up to injustice and look for our own inner strength. The plot is VERY simple. An evil gang takes a family hostage while hiding from the police. However, what makes the film stand out is the exquisite writing and acting that follows. This film really gives you a lot from such a simple plot. Be sure to watch the ending--it really delivers! UPDATE: I just saw another film, "Hunted Men", and it was quite similar to "The Desperate Hours" except that it lacked the grittiness and had TONS of schmaltzy scenes where the crime boss shows he really isn't so bad after all. And, as a result, "Hunted Men" is a vastly inferior film....though the two would make a great double-feature.

6 out of 10 Bogart and pals escape from prison and hide out in a suburban home. There they hold the parents and two children hostage. The father (March) quietly plots a plan and slowly takes control of the situation. The film certainly does have it's minuses. The plot is too general in nature and too sanitized. The crooks don't seem too smart or sophisticated. They never seem very menacing and seem completely out of control not only with the family, but even amongst themselves. Things seem to unravel for them at almost predictable intervals making the suspense rather minimal. They also make some glaring tactical errors. Having the family move around freely and talk amongst themselves upstairs while the bad guys 'stand guard' downstairs seems stupid. It's almost like asking them to come up with an escape plan. Bogie is one terrific actor who can be very adept at creating dark characters just catch his performance in TREASURE OF SIERRA MADRE. Yet here, despite his best efforts, he comes across as being bland. This is mainly due to all the problems mentioned above. On the plus side is the fact that the film is very methodically paced and builds to a good climax. The interior of the house is well designed. The staging is excellent and allows for some good dramatic shots. The neighborhood exterior is also very detailed. March gives a powerhouse performance and his confrontations with Bogart are excellent. If you can get past the stilted 50's lingo and sensibilities then you may find that this film still has some impact. Little Ralphie is one the most endearing child characters you'll see. He is cute but very feisty and daring especially with the bad guys. If you look quickly you can also see Joe Flynn, in a very early role, as a driver of a hijacked car.

This is yet another feather in the incomparable Bogart's cap. Terrific tension is generated in the hostage taking and the need to cover it up (I know it's wrong but I wanted the Griffin boys to succeed). The supporting cast is perfect in depicting a typical American family of the period. Kobish, the dimwitted but violent felon, was a great character and Dewey Martin, as the younger Griffin (he was also in another Bogart film, Knock on Any Door), probably had the most poignant line in the whole movie when he responds to his older brother, who said he "taught him everything," by replying "except how to live in a house like this." One thing I can't remember is whether or not we see Griffin's girlfriend onscreen at all. Well anyway, terrific movie, 9/10.

"The Desperate Hours" first introduces a typical 1950s nuclear family before their home is invaded by three gangsters hiding from the police. From there the film chronicles the tensions in the invaded home and the police search to find the gangsters. Humphrey Bogart reprises his role as "tough guy" with his usual skill as the leader of the gangsters. Federic March's talents aren't on display as often as the father of the family, but his performance near the end talking to the sheriff and entering the house was excellent. Robert Middleton developed an interesting character in the feebleminded and boorish Sam Kobish and the supporting performances are fine as well. This film does have some moments of tension and it is effective in developing a sense of paranoia amongst the gangsters near the end. The story on the whole is nothing profound, though, and makes this a less than interesting crime thriller. However, the ending is very well-developed with tension and the final moments with Bogart and March were gripping. Personally I found "The Petrified Forest" (1936) to be a much more interesting iteration of the "hostage situation" style of film with Bogart as a gangster.

The original THE DESPERATE HOURS is one of the best true suspense films that were ever made. The incident happened in upstate New York in 1953, when three escaped convicts invaded a private home, and then terrorized the family until they were captured and killed by the police. In fact, the story became a successful Broadway play that this film is based on (the family in the original incident brought an unsuccessful lawsuit against the dramatist for invasion of privacy). Humphrey Bogart, his brother Dewey Martin, and that marvelous villain Robert Middleton play the three convicts, who having escaped prison take the Hilliard prisoners. Bogart is awaiting his girlfriend who is supposed to bring money and a car for their total getaway. In the meantime Bogart is doing his best to make the Hilliards as unhappy as possible. Not too difficult, as Martha Scott, Mary Murphy, and Richard Eyer are facing three thugs who are armed. And Fredric March is the family head, frightened at the most hideous prospect possible (his family being wiped out), but struggling to maintain his courage but also his head - he hates Bogart but must not do anything that will antagonize him. Bogart fully returns the dislike. A poor guy all his life, he turned to crime to make a living. When the younger and softer Martin tries to speak out for March/Hilliard, Bogart snarls out, "And what did the Hilliards ever do for you?" In truth not much, which is what this particular Hilliard is paying for now. After awhile, watching March's careful thinking of what to do, Bogart starts taunting him as though he's a machine he sees through - saying the line in the "Subject line" above. There are several problems that gradually increase the tensions: 1) Richard Eyer is brave as a little kid who does not understand that guns can kill. He thinks his father is the bravest man in the world, and cannot understand why he doesn't take on and destroy the bad guys. 2) The family has to maintain the aura of normality - Bogart and Murphy have to go out to their jobs and act without stirring any notice. Hard in normal situations, it is driving Murphy to insanity because she can't talk to her boyfriend, Gig Young. And Young is beginning to wonder why. 3) If the surface is to look normal, you have to keep anything unusual hidden. The original getaway car is in the Hilliard garage (now closed). But the local garbage man (Walter Baldwin) finds it accidentally - leading to an ugly tragedy. 4) Bogart and Martin are brothers, but Martin is attracted to a normal life, not one of violence. He may eventually want not to stick to Bogart. 5) Middleton came along, but he really is not trusted by Bogart - and he has a weapon of his own. 6) Bogart's plans include killing the officer who sent him to prison, Arthur Kennedy. Kennedy and the state police are coordinating the entire search, and keeping a tight lid on top of the escaped prisoners (making their temporary safety more claustrophobic). All of these elements build the pressure up and up and up until the last twenty minutes. The results are quite explosive and impressive, and memorable. This was Bogart's last film as a bad guy, and he made the most of it. It was also his only film with Fredric March, and the tension in their scenes together grows until it shatters at the conclusion. Martha Scott, Gig Young (whose character's independent actions throws the convicts' plans out of wack), Middleton (quite chilling), and Kennedy give first rate performances. Martin's performance is also good, and ultimately tragic. No lover of suspense films will be disappointed by THE DESPERATE HOURS.

A lot of loopy comments out there about this one. "Predictable" is a very over-used adjective that I've certainly been guilty of myself, but what exactly is supposed to happen in a hostage-taking, domestic thriller like this? Are aliens supposed to land in the Hilliards' back yard and vaporize everyone? Is Bogart's escaped con supposed to dress up in drag at some point and decide he wants to become a chorus girl? Would that satisfy those who find this movie predictable? "The Desperate Hours" keeps you on the edge of your seat; it more than passes the test as a thriller and it most certainly has not mellowed over time. The script is fine, intelligently examining how the respectably middle class but somewhat complacent father (Frederic March) draws strength and courage from the love of his wife and kids in handling the ordeal. Though each family member is formulating their own strategy for how best to resolve the crisis (their brains are always going "clickity-clickity-click" as Bogart mockingly keeps reminding them) they recognize March as the father and as such the captain of the ship. They look to him for leadership and he responds. It's telling that when the young son disobediently puts his ill-conceived plan into action, it undermines the father's nearly successful tactic. Though he had earlier suspected his dad of being cowardly for not taking a more aggressive stance, from this point on he begins to appreciate all the variables he must take into account and looks up to him once more. The idealized, but by no means wildly unrealistic domestic situation reflects the mood of the time. Why on earth would it possibly reflect cynically 90's attitudes and sensibilities, as some reviewers seem to desire? There are casting decisions pertaining to age differences which raise an eyebrow, but do not seriously detract from William Wyler's (as masterful and dependable a director as Hollywood has ever cranked out) otherwise polished production. At 42 of course, Gig Young seems a tad old for the family's 19 year old daughter (beautiful Mary Murphy) but he's still youthful enough looking and he puts an interesting spin on what is usually the thankless role of the boyfriend who stumbles into things. One of the beauties of B&W photography is that it can always be used to make actors look as many as 5-15 years younger than they are. This comes into play with Bogart's character as well, as he's asked to be the older brother of 32 year old Dewey Martin, and it's something that I didn't have too hard a time buying. It's difficult to believe this was one of his last films, as he seems quite vigorous and robust in the part. Tense, exciting, well-acted and directed; this is indisputably far superior to Michael Cimino's bloody and botched 1990 Mickey Rourke "star" vehicle remake.

Superb film regarding Fred March, Martha Scott as a married couple who are held hostage by Humphrey Bogart and his motley crew along with the couple's children. The tension is so thick and is beautifully realized by director William Wyler. This is a story of inner-strength held by March and yet how his acts to protect his family could be seen as cowardice by his young son. Both March and Bogart are at the top of their game performance wise in this excellent film. The film is aided by a wonderful supporting cast including Arthur Kennedy as a detective, Dewey Martin as Bogart's younger brother and several others. Gig Young plays the suitor to March's daughter. He feels that March doesn't like him and of course this is added on by the hostage situation. We see how detrimental being held hostage can be by what it does to the normally mild-mannered March. Just view his hostile actions towards his secretary. (Helen Kleeb) While we may know how the film will turn out, we can still applaud and wait with great anticipation for its wonderful climax. This was Hollywood at its best in film making.

Bogie starring in one of his last films plays a heartless villain on the run with his younger brother after breaking out of a local prison. They take a family hostage in their own home while they plan their getaway ....striking terror and fear into their hearts. The acting by all the players is brilliant...Bogie particularly excelling in his role as an ageing con with nothing to lose showing his hatred for all middle class American family values. Fredirc March plays the father who stands up to Bogart to protect his family from the callous murderers trying at every turn to outwit and out-think him as the Desperate hours tick away with nail biting consequences. A gem of a film !