The Killers (1964) and Tenebrae

Clu Gulager and Lee Marvin.

The Killers (1964). Don Siegel's adaptation of Ernest Hemingway's 1946 short story "The Killers" is sadly overshadowed by the 1946 film version that made stars of Burt Lancaster and Ava Gardner. Siegel's The Killers is a lean, fast-paced drama that borrows elements from the 1946 movie, but alters the narrative path. Lee Marvin and Clu Gulager play contract killers Charlie and Lee, who are hired to murder former race car driver Johnny North. The job goes off without a hitch, but Charlie (Marvin), the more experienced hit man, is bothered by the fact that Johnny knew they were coming to kill him--but chose not to flee. Charlie becomes obsessed with finding out why and, as the killers interview people who knew their victim, Johnny's story unfolds in flashbacks. John Cassavetes turns in one of his most likable performances as Johnny, whose once-promising career goes off the rails when he falls for a mobster's mistress (Angie Dickinson). The flashbacks are well done, but The Killers works best when it focuses on the contrasting title characters: the quiet, perceptive Charlie and his younger, more action-minded partner Lee. Marvin's performance foreshadows his ruthless role in the better-known Point Blank (1967), while Gulager is a revelation. It's a shame that his career was mostly limited to TV series such as The Tall Man and The Virginian. The Killers was originally intended as one of the first made-for-TV movies, but its content was deemed too violent and it received a theatrical release. A scene in which Ronald Reagan, as a ruthless criminal, slaps Angie Dickinson is often cited for its violence. However, it pales in comparison to a later scene in which Marvin's hit man brutally slugs her. You can currently stream The Killers on Rumble for free by clicking here.

Tenebrae (1982). After a detour into supernatural horror with Suspiria (1977) and Inferno (1980), filmmaker Dario Argent returned to the giallo genre where he experienced great success in the 1970s (e.g., Deep Red, The Bird with the Crystal Plumage). Tony Franciosa stars as American writer Peter Neal, who travels to Rome to promote his latest mystery, a grisly thriller titled Tenebrae. Following the death of a young woman, Peter receives a letter from the killer who claims to have been inspired by Peter's violent novels. As more murders occur, the author closes in on the identity of the murderer--but all is not what it seems. Stylish and thematically complex, Tenebrae suffers from Argento's desire to pull out all the stops--no matter the costs. There's an incredible tracking shot in which the camera crawls along the side of a building, then up and over it and down the other side. It's an amazing technical feat, but adds little to the scene's suspense. There are also anonymous flashbacks, blood-splattered killings (you've been warned!), and a doozy of a climatic twist. I'm still not sure if the latter plays fair with the audience, but it will grab your attention. Tenebrae is a a moderately-successful return to Argento's roots, but it could have been so much more. Despite starring a well-known American actor, Tenebrae received a limited release in the U.S. two years after its European premiere; it was heavily edited and retitled Unsane. 

Alfred Hitchcock Presents: Season One

The new streaming app Peacock TV officially launches on July 15, 2020. However, it's available now for customers of Comcast's Xfinity cable service. Most of the TV shows on Peacock are recent ones from NBC. A wonderful exception is Alfred Hitchcock Presents, the classic anthology series that aired for seven seasons starting in 1955. (Incidentally, The Alfred Hitchcock Hour is also available.)

While not as consistently good as The Twilight Zone, Alfred Hitchcock Presents was an above-average series comprised of twisty tales. Each episode also featured a wryly amusing prologue and epilogue starring Alfred Hitchcock. Occasionally, these were better than the stories that they book-ended!

The actors that appeared on AHP were a mix of big-name stars (Claude Rains, Joseph Cotten, Barry Fitzgerald, Thelma Ritter, Claire Trevor), promising newcomers (Vera Miles, Joanne Woodward, John Cassavetes, Charles Bronson), and Hitchcock movie regulars (John Williams, Pat Hitchcock). The Master of Suspense directed four of the 39 episodes.

Here are our picks for the best episodes from the first season:

Vera Miles in "Revenge."

Revenge - The first episode of the series is one of its finest! Vera Miles stars as a woman, recovering from a nervous breakdown, who claims she was assaulted in her mobile home. Later, she identifies the assailant to her husband. The twist ending is downright chilling. Hitchcock directed.

Premonition - A man (John Forsyte) returns to his hometown from Paris, packing only his toothbrush. He wants to make up with his estranged father, but everyone keeps putting obstacles in his way. Forsyte is excellent, but the outcome becomes apparent just before the climax.

Salvage - An ex-con (Gene Barry) seeks revenge on the woman who caused his brother's death. Yet, instead of killing her, he has a change of heart at the last minute--and then proceeds to help her become successful and content. A devious plot that works quite well.

Joseph Cotten in "Breakdown."

Breakdown - Hitchcock directed this tale in which style takes precedence over content. A ruthless businessman (Joseph Cotten) becomes completely paralyzed in a car accident and cannot communicate that he is alive. But we, the audience, can hear his thoughts as he becomes more and more desperate. An unique and satisfying episode.

The Case of Mr. Pelham - Another Hitchcock-directed episode in which a man (Tom Ewell) discovers that a lookalike is taking over his life. Genuinely bizarre, but still fascinating until the ending which I found somewhat lacking.

Marissa Paven and John Cassavetes.

You Got to Have Luck - A killer (John Cassavetes) breaks out of prison and hides out in an isolated farmhouse occupied by a young wife (Marissa Paven). Well-acted and featuring one of the best twists of the season.

The Creeper - A serial killer is murdering blonde-haired women in New York City during a hot spell. Blonde-haired Ellen Grant (Constance Ford), whose husband works at night, suspects everyone. A taut tale that benefits mightily from Ford's excellent performance and an atmospheric setting that captures the discomfort and unease experienced by the characters.

Interested in more Alfred Hitchcock Presents? Check out our picks for the series' five best episodes!

31 Days of Halloween: Rosemary's Baby

A landmark film of the horror genre, Rosemary's Baby (1968) also marked Roman Polanski's U.S directorial debut. The film, a runaway hit on release, was the prototype that inspired the onslaught of big-budget "A" horror films that followed: The Exorcist, The Omen, etc.

In the tradition of Hitchcock, Polanski achieves his effects with little overt violence and gore but much finesse. Like Hitchcock, Polanski masterfully commandeers the emotions of his audience. Drawn into Rosemary's point of view and her growing alarm, the viewer becomes increasingly aware that something is very wrong but, like Rosemary, doesn't grasp exactly what has happened until the final scenes.

This suspense is propelled by a deliberate ambiguity that implies Rosemary's fright may have a rational explanation (women do have difficult pregnancies), that her fears may be paranoia-based (though related to an infamous Satanist, her neighbors could just be a pair of elderly oddballs). On the other hand, the storyline and action are such that the viewer has difficulty simply writing off Rosemary's anguish to imagination and coincidence. Equally ambiguous throughout much of the film are the majority of the characters. While Rosemary remains constant as the naive young wife, those around her are more enigmatic - from her ambitious actor husband and her intrusive neighbors to her wise and kindly old doctor. Cleverly, several of the most villainous characters are also the most comically eccentric.

The subtle intermingling of suspense with irony and humor is one of the film's distinctive qualities. A few unforgettable scenes: Rosemary (Mia Farrow) and her husband Guy (John Cassavetes) are having dinner with her friend Hutch (Maurice Evans) who describes the Bramford building's ghoulish history (including a pair of sisters who devoured children) as he carves lamb at the dinner table...a graphic and shocking suicide scene in front of the Bramford simultaneously introduces the Castevets: Minnie (Ruth Gordon), dressed and made up in the manner of an over-the-top Christmas tree, and Roman (Sidney Blackmer), clad as though vaudeville was still alive and well...and finally, when Rosemary sees her baby for the first time she, uncomprehending, shrieks, "What have you done to its eyes?" Roman Castevet adroitly responds, "He has his father's eyes"...

Another of the film's delights is its painstaking recreation of the time in which it was set, late 1965 to mid-1966. Costume designer Anthea Sylbert precisely captured that timeframe's contemporary look with Rosemary's short shift dresses (some with peter pan collars), a long and luxurious plaid skirt, red chiffon lounging pajamas. Rosemary has her blunt-cut pageboy snipped short by Vidal Sassoon, she relaxes at home reading Sammy Davis, Jr.'s book Yes, I Can, the Pope's visit to New York is glimpsed on TV, and Time Magazine's famous "Is God Dead?" cover is shown on a waiting room table.

The hand-picked supporting cast includes especially solid performances by Patsy Kelly and Ralph Bellamy. Uncredited but in an acknowledged key role is The Dakota, a famed gothic confection at 72nd and Central Park West. The Dakota starred as the Bramford, and exteriors were shot there. Because filming was not allowed inside, its interiors were recreated at Paramount. Significantly, the film begins and ends with aerial views of the building.

Roman Polanski deftly combined the trademark elements of his style (atmospheric location, psychological distress, irony, dark humor, an endangered and isolated protagonist), his penchant for meticulous craftsmanship and the high gloss afforded by Hollywood to create a masterpiece that has developed a legend all its own over the years...