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. 

Richard Todd Owns "The Hasty Heart"

As World War II comes to an end in Burma in 1945, Lachlan McLachlan (Richard Todd), a Scottish corporal, steps on a land mine. Amazingly, except for the loss of one kidney, his injuries appear to be superficial. The reality, though, is that McLachlan's other kidney is "defective" and that he will die from renal failure in a few weeks. Knowing that the Scotsman has no family nor close friends, the field hospital's commander decides not to tell McLachlan about his impending death. Instead, he places the young man in a ward so he can "be content" during his final days.

Patricia Neal and Richard Todd.

The ward's compassionate nurse, Sister Margaret (Patricia Neal), and the other five patients know the truth. They try to befriend McLachlan--whom they quickly nickname Lachie--but their attempts are rebuffed. The hot-headed, self-sufficient Lachie doesn't make friends freely by his own admission. His first act in the ward is to move his bed away from the other patients. He meets each attempt at civil conversation with a curt, guarded reply. Fortunately, Sister Margaret doesn't give up easily and she eventually finds a way to reach the stubborn Scotsman.

Based on John Patrick's 1945 stage play, The Hasty Heart is a heart-lifting tale rather than a sad one. Patrick wisely avoids a death scene and its aftermath because, after all, that's not the point of his drama. It's a story about love and friendship and knowing that, however briefly we may cherish one another, it's worthwhile to let them into one's heart. (The film's title is derived from a Scottish proverb that states: "Sorrow is born in the hasty heart.") The film's biggest challenge is its premise. The decision not to tell Lachie his fate is questionable at best. Doesn't a soldier deserve to know if he's dying and be given the choice to make his own decisions during what little time remains?

Director Vincent Sherman makes no attempt to hide the film's stage origins. Most of the scenes take place in the ward's tent or in the area around it. His focus is clearly on the script and the performances. Fortunately, the performers are up to the increased scrutiny.

Ronald Reagan and Todd.

Richard Todd gives a brilliant performance as the proud Scot who gradually opens up and then overflows with the joy of friendship and perhaps even love. Richard Basehart, one of my favorite actors, created the role on Broadway and I'm sure he was very good. Gordon Jackson (Hudson on Upstairs, Downstairs) was considered for the film and, again, I think he would have done it justice. But frankly, I can't imagine anyone being better than Richard Todd, who rightfully earned an Oscar nomination for Best Actor (losing to Broderick Crawford in All the King's Men). It's hard to pick Todd's best scene as Lachie. While his marriage proposal is wonderfully awkward, my choice is probably the scene where the other patients celebrate his birthday--an event that the solitary Lachie has forgotten.

The rest of the cast gives effective supporting performances (though both Patricia Neal and Ronald Reagan are billed above Todd). However, it's clearly Todd's picture and your feelings toward the film will likely hinge on whether you embrace his portrayal of Lachie.

Patrick's play has been adapted several times for television. The most notable productions appeared in 1958 and 1983. The former version appeared on the Dupont Show of the Month starring Don Murray as Lachie and Barbara Bel Geddes as Sister Margaret. The 1983 made-for-television film featured Gregory Harrison and Cheryl Ladd in these roles. Perry King earned a Golden Globe nomination for the Ronald Reagan character.