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Alfred Hitchcock takes on Sigmund Freud in this thriller in which psychologist Ingrid Bergman tries to solve a murder by unlocking the clues hidden in the mind of amnesiac suspect Gregory Peck. Among the highlights is a bizarre dream sequence seemingly designed by Salvador Dali--complete with huge eyeballs and pointy scissors. Although the film is in black and white, the original release contained one subliminal blood-red frame, appearing when a gun pointed directly at the camera goes off. Spellbound is one of Hitchcock's strangest and most atmospheric films, providing the director with plenty of opportunities to explore what he called "pure cinema"--i.e., the power of pure visual associations. Miklós Rózsa's haunting score (which features a creepy theremin) won an Oscar, and the movie was nominated for best picture, director, supporting actor (Michael Chekhov), cinematography, and special visual effects. --Jim Emerson ... Read more

Reviews (66)

Psychoanalysis
Dr. Constance Petersen (Ingrid Bergman) is a psychiatrist, who thinks she has a firm understanding of human nature, that is until she meets Dr. Anthony Edwardes (Gregory Peck). He has just become the chief of staff, at the institution, where they both work. As one might expect, the 2 fall in love. but all is not as it seems...For each is hiding a secret.

Direected by Alfred Hitchcock, SPELLBOUND, like the "Master's" later film, MARNIE, this movie concentrates more on the human drama aspects of the story. The film is not a thriller per se` The end result gets bogged down by too much psychobable at times. That said though, I still admire the film, thanks to (the lovely and radiant) Bergman and Peck. Even though some of the dialogue is now dated, the pair gives solid peformances. The movie also boasts an Oscar winning score by composer Miklos Rozsa and memorable dream sequence, created by icon Salvador Dali

The Criterion Collection DVD contains some fine extras. Hitchcock scholar Marian Keane provides another good commentary, as she has in the past, with other Hitchcock Criterion DVDs. There's an illustrated essay on Dali's dream sequence. One of the best supplements on the disc is the '73 radio interview with composer Rozsa, really rare stuff. Speaking of radio, the disc also boasts, the complete 1948 LUX radio adaptation. Additional essays on the director, an exhaustive photo and publicity gallery, and the theatrical trailer, top off the extras on the disc. The look of the film has never been better...

SPELLBOUND may not be among my favorites from Hitchcock, but I still think it's worth your time, as a film, and the rare extras can't be beat. Recommended with *** and a half stars

Spellbound is Unforgetable....DVD is Superb
This review refers to the Anchor Bay release of the "Spellbound" DVD....

Anchor Bay has done it again. This 1945 classic directed by Alfred Hitchcock, was beautifully transfered onto this DVD. The black and white images are sharp, crisp, and clear. Barely a sign of this film's age. The sound remastered in Dolby Dig 2.0 is great. If you're a fan of this film, you'll be thrilled at how good it looks.

Haven't seen it yet, but love Hitch, or maybe it's been a while since you have?....Here's a little of this riveting story.....
The beautiful Ingrid Bergman plays the distant psychiatrist Dr. Constance Petersen. She treats a number of troubled patients at the Green Manors Mental Asylum, but her toughest case is yet to come. With Dr. Murchison(Leo G Carroll) being forced into retirement a new chief of staff will be arriving. It is the esteemed Dr Edwards(Gregory Peck)who takes over. It is not long before Edwards and Constance find themselves attracted to one another, and it is not long before Constance figures out that Edwards is not really who he says he is. He displays signs of paranoia and amnesia and it is possible that he murdered the real Dr. Edwards.They are on the run to try to solve the case but as the original theatrical poster says,"Will he Kiss me or Kill me?"(The DVD comes with a mini version of this poster).

You'll be awed Hitch's definitive style of camera angles, shadow and lights, romance and a unique dream sequence designed by Salavdor Dali. Not to mention all the wonderful talent that graces this film. Bergman and Peck make screen magic together, Carroll is a legend and this film shows us why.Also starring is Rhonda Flemming,Michael Chekhov, and Wallace Ford. The music by Miklos Rozsa also adds greatly to the building tension, and romantic scenes in the story.

Looking for Hitch: About :40 minutes in, you may see him if you're quick!

It never ceases to amaze me that we are lucky enough to be able to see these great classics as they were first seen and with the added treat of the origianl theatrical Overture.(I will be adding this one to my listmania of "Old Movies That Look Great on DVD") Now, if you are looking for special features, this DVD does not have any, there is another version by Criterion that offers more in the way of extras,although quite a bit more expensive.(Criterion also does great transfers)Which ever you choose, this a a must have for fans of Hitch, Bergman or Peck.

So don't worry about trying to over anaylze this one....As Hitch himself said "It's just a movie." But a GREAT one! So enjoy!......

Ingrid Bergman In The First Of Her Classic Hitchcock Roles
The words "Directed by Alfred Hitchcock", in the opening credits always alerts me to the fact that I am possibly about to see something special up on the screen no matter what the genre. This legendary director put his stamp on a large number of classic films such as "Rebecca", "Notorious",and "Rear Window". With "Spellbound", Hitchcock made cinematic history by beginning his successful collaboration with favourite leading lady Ingrid Bergman that also produced the classic "Notorious", co starring Cary Grant. Ingrid Bergman here has a most challenging vehicle as a dedicated psychiatrist who through psychoanalysis attempts to uncover the dark secret life of an amnesia victim that possibly involves murder. Bergman here shows what total emersion into a character can do for the conviction of a story and the results are most satisfying in what was to become one of her many fondly remembered roles by fans and critics alike.

The action begins at Green Manors Psychiatric Sanitarium where there is a change occuring in the head personnel with the "retirement", of facility head Dr Murchison (Leo G. Carroll), after a bout of illness. His replacement a Dr. Anthony Edwardes is due to arrive shortly and in the meantime we are introduced to young psychiatrist Dr. Constance Peterson, (Ingrid Bergman), an all business enthusiast of psychoanalysis totally dedicated to her job. When Dr. Edwardes arrives however all is not well and not only does he appear to be far too young for such an important role but he has a number of "spells", where his own mental health is called into question. Constance finds herself experiencing an immediate attraction to this strange young man who before long she realises is not actually Dr. Edwardes but an amnesia sufferer who harbours a severe guilt complex about something unexplained that occured in his past. When complications start to arise and "JB", as he now calls himself is accused of the murder of the real Dr. Edwardes he quickly leaves the sanitarium and hides out in a New York Hotel. Convinced of his innocence Constance follows him to New York and together they try via psychoanalysis to get to the root of JB's problems and find out actually who he is. Pursued now by the police who also are also searching out Constance as an accessory, JB and Constance then travel to see her old University mentor Dr. Alex Brulov (Michael Chekhov). Alex discovers the truth about JB's real condition and feels that he might have been capable of murder all along. Constance is firm in her belief of his innocence however and after travelling to a ski resort JB starts to recall his past and what happened to cause him to loose his memory. It seems his severe guilt complex was over the accidental death of his young brother for which he has always blamed himself. It is revealed that Dr. Edwardes actually died on the ski slope which caused JB to assume the blame for his death. With a clearer picture now JB and Constance work to trace the real murderer. The police however apprehend JB leaving it up to Constance to prove his innocence. The clues lead Constance back to the Green Manors where Dr. Murchison has resumed his former position. A slip of his tongue where he states to Constance that he thought the real Dr. Edwardes was a horrid man when earlier he stated he had never met him alerts Constance to who the real murderer is and in a fateful confrontation the real truth and its tragic consequences all come out. The bright aspect of this conclusion of the situation is that "JB", learns his real name, "John Ballantine", and is freed of any suspicion in Dr. Edwardes' death. He and Constance also can then plan a future together now that he is cured of his earlier amnesia.

Despite the dated medical practices that make up the core of the action in "Spellbound", the uniformily fine acting performances by the cast make this film a memorable viewing experience. Ingrid Bergman was in the middle of her extraordinary run of critical and box office success as possibly the freshest performer in Hollywood at this time and she had her choice of a dazzling array of leading men eager to work with her. Gregory Peck only teamed with her the once and despite his relative inexperience with film at this time, despite being nominated for an Oscar for "Keys of the Kingdom", he already shows the mettle that would make him one of Hollywood's most enduring leading men. A favourite character actor of mine, Leo G. Carroll long associated with pedantic, fussy men in his film roles had one of his best roles here as Dr. Murchison who features prominently in the unexpected thrilling finale to "Spellbound". He teams particulary well with Ingrid Bergman and their nail biting climatic scene at the film's conclusion has become a classic. Hitchcock used a number of quite innovative practices to make "Spellbound", a creative and for the times quite thought provoking work of cinema. Boasting an Oscar winning musical score by Miklos Rozsa, the film is also justly famous for the elaborate dream sequence designed by the legendary Salvador Dali. Originally much longer and surreal than as it appears on screen now, it was cut in length due to Studio pressure so as to not "alienate", the average audience. Its rich expressionist symbolism however creates a marvellous illustration in showing Gregory Peck's characters search for the truth about his past. Also the famous colour gun shot at the gripping conclusion in an otherwise black and white production helps create another not expected element in the story.

Viewed today "Spellbound", might not be considered the best work in Alfred Hitchcock's acclaimed body of work however it provides interesting asides into the then fashionable world of psychanalysis and its benefits to those suffering guilt complexes and associated memory losses. Despite its dated elements that are very obvious with the passage of time and advances in medical practices "Spellbound", I feel justly takes its place as one of David O. Selznick's more thoughtful productions from this time and is still best remembered as one of the jewels in the crown of Ingrid Bergman's career in the early 1940's. Enjoy

Timeless Classic
What's remarkable about "Spellbound"--aside from wonderful performances by stars Ingrid Bergman and Gregory Peck--is that despite its foundation in psychology for plot, it never devolves into the dark, pretentious psychobabble of contemporary films. Instead, the framework of a brilliant man (Peck) suffering from amnesia that results from a murder he may have committed is just that--a framework for what is essentially a mystery-love story. And it works because of Alfred Hitchcock's dream-like direction and the chemistry of its eminently watchable stars. Less film noir and more expressionism, the film delights in a terrific atmosphere of the strange, including a brief but interesting animated sequence by Salvador Dali. Nonetheless, the main characters are always warm and sympathetic. Add Miklos Rosza's elegant score (which will remind some viewers of his work 30 years later on "The Private Life of Sherlock Holmes") and the result is an often overlooked masterpiece from an era of great films.

Extremely sacrilegious review...
First things first: I am not a Hitchcock fan, fanatic, or devotee. The only film I like by him, after seeing quite a few, is Frenzy, a lesser known work from the early 70s.

Why is that?

Let's take Spellbound, the film here reviewed. Hitchcock is famous for romantic suspense; there are quite a few examples of his work in this category, and Spellbound is one of the most flagrant. I say "flagrant" because he delights in working with actors who can provide emotional overheat, supposedly signifying passion. When Ingrid Bergman as psychoanalyst Constance Peterson is worried about her lover, John Brown (nee Ballantine), played by Gregory Peck, she rants and cries and throws herself around. When Gregory Peck remembers something about his past, his face becomes completely zomboid and he subsequently spouts emotionally overheated dialogue, making absolutely sure the viewer knows he is upset about what he's experiencing.

Hitchock may have believed in "MacGuffins", but he did nothing to hide this bombast from the audience. Anyone seeking subtlety and real depth--i.e., intelligence--in the portrayal of human behavior won't find it watching a Hitchock film.

Additionally, he's not only not above using stereotypes, he often loves them, because they convey what he really wants to convey--his fulfillment of what he believe the audience EXPECTS to see and hear. Thus, in Spellbound, for example, he has a wise old psychoanalyst, Bergman's mentor, who proffers sagely advice. This is a character the audience can relax with, and the principal reason for that is that they, the audience, EXPECT this character to deliver certain lines and that's excatly what he does.

Hitchock was an arch conservative who may have been innovative in cinematic technique from time to time, but storywise, took no chances. Spellbound, like most of his films, today seems dated, even coy, because the actors are enacting what really amounts to an emotional tableau--a series of set pieces designed to elicit intensity of feeling by providing them, the actors, with dialogue and related behavior attempting to force the audience to experience simple responses. This simple-minded approach to film making is, in fact, an insult to intelligence.

While much has been made of the Dali-inspired dream sequence, it counts for little here, because it is used for show only. Once presented, its analysis is piecemeal, which is all very well and good, but its detail is discarded. That is, the care and precision that went into creating the sequence itself is essentially thrown out in favor of, yet again, a simple-minded subsequent "analysis" that disregards any real discussion of its bizarre-ness and instead focuses on its basics. One might argue that this is necessary to prevent audience loss of interest, but the converse of this arguement is, as I would maintain, an approach to filmmaking that refuses to really investigate human behavior but only scratch the surface.

This being the case, it appears that Hitchcock is really afraid that he will not appeal to the common man if he makes a film that provides the viewer an opportunity to think with his heart, or feel with his head. Instead what we have, in Spellbound as in most of his films, is a work that revels in overkill to insure that the "message" is not lost.

While Spellbound's message, like that of many films, is that love conquers all, the manner of its presentation is much too simplistic and overwrought to make this an interesting film today. ... Read more

Reviews (1)

Gran actuacion de Gregory Peck en excelente western
Only the valiant es un western que cumple con todas las reglas del genero. Sobresalen las actuaciones protagonicas de Peck y de Ward Bond en el papel de soldado borrachin. Es de destacar los valores morales del protagonista que se arriesga a una accion suicida para salvar su honor y el de la caballeria. Es memorable la escena en que el Cap.Lance (Peck) forma a la patrulla para explicarles por que eligio a cada uno para esa mision. ... Read more

Reviews (15)

Pure Kitsch
It's nice to see that Peter Fonda has redeemed himself in recent years ("Ulee's Gold", "The Limey", "The Passion of Ayn Rand" et al.), and even has a couple of Golden Globes and an Oscar Nomination to show for it. But he certainly wouldn't want to be remembered for this awful piece of drive-in drivel (although "Easy Rider" will probably be marked on his gravestone). I gave it three stars for kitsch value. Otherwise, it doesn't deserve any. This movie is bad, but in a very amusing way.

"The Wild Angels" is "Easy Rider" written by Fred Durst. The plot is pretty weak, juvenile, and has plenty of holes in it. The actions the characters make echo the song "Break Stuff"; at the beginning of the film, when Loser's (Bruce Dern) Boss ask Heavenly Blues (Fonda)if he's "one of those dumb angels", Blues replies snidely and restrains him needlessly. And the dialogue is mediocre and poorly executed.

If you're looking for compelling drama, look elsewhere. If you're looking to amuse yourself, then by all means take the plunge!

The original biker movie
I'm not a movie critic, I'm a motorcyclist. I have this film on video and watch it fairly often, along with Beyond The Law, Hells Angels on Wheels and Angels Hard As They Come (the most underrated of biker flicks). Fonda, Dern, Ladd, Buck Taylor and Norman Alden are great. Nancy Sinatra was terrible and totally miscast, if she' repudiating this movie it's due to her terrible acting. I can't see Micheal J. Pollard as a biker (but he was wonderful in Little Fauss and Big Halsy). The star of this movie is Fonda's chopper, to me, it's more beautiful, and subltly understated, than that ultimate movie chopper in Easy Rider, the Captain America Bike. This movie is really about Heavenly Blue's changing values as his friend Loner dies. Girlfriend Sinatra realizes the change that's come over him, "it's like a piece of you went with him". He reveiws his life and sees it empty, without purpose without his closest compadre The Loser, as in the final line "there's no where to go" as he stays to bury his friend while others flee The Man. They go on to continue the life of carousing and hell raising while Blues follows through on a duty to a friend, and to me symbolically buries himself, his up-to-then life, as well as his only friend.

Not just sexist, but racist.....
as exhibited by the comments and attacks on a group of Mexicans. Fonda is about as animated as a cigar-store Indian, Nancy Sinatra is woefully miscast, Diane Ladd is over the top and predictable. In fact, the best performance may be delivered by Bruce Dern.....as a corpse.

A Must Have for Any Biker Video Collection
"We want to be free to do what we want to do without being hassled by the man! And we want to get loaded!" "YEAH!"

What more can I possibly add?

Oh yeah. Theme music by Davie Allan.

People think Easy Rider was good but this movie defined the bikesploitation genre.

Disturbing, yet interesting
Oddly, though the characters in this movie are all dispicable individuals, in some ways, I could still find myself sympathizing with their rebellion against "the man". This movie definitely has more of a '70's feel to it than the '60's, and holds up well today.

I will admit, I did find the use of the swastikas and iron crosses to be offensive. But, I think such individuals in the '60's used them more to shock those who tried to control them, than as a support of what they truly represented...and to have realism, they had to be included.

One technical aspect to the movie...and two to the DVD on which I need to comment:

1. Did the movie always end so abruptly, with no closing credits or even a "The End" caption? Or is this poor editing?

As for the DVD...

2. The print from which this movie was taken was in terrible condition. At some points the picture is beautiful. But others show dirt, hair, and sprocket marks. Worst of all is a tear in the film, patched with tape, which is readily visible. This occurs in the scene in which Sinatra has just entered the door of the hospital, and the camera is panning over to the nurse's station.

3. There also seem to be some areas of the film which are out of focus. I primarily noticed this when Nancy and Peter are talking alone on the boat before leaving for the funeral.

All in all, this picture can be viewed more as a snapshot of an era than as pure entertainment. If taken as such, it proves somewhat interesting. ... Read more

Reviews (12)

Surprisingly unfunny
I expected to enjoy this Tracy & Hepburn political comedy, especially since I'm a history buff of the 1948 campaign. Unfortunately, the politics is only window dressing for a lot of stagy banter and a plot that moved at a snail's pace. Tracy's character has been compared to Wendell Wilkie or Ross Perot, but to me he was a Clinton -- a big, charming, down-home guy trying without success to conceal a titanic ego. He had deserted Hepburn, playing his charming wife, and his two small children to take up with Angela Lansbury, at least 20 years his junior. Want to see a good political movie? Skip this turkey and seek out "The Best Man" instead.

Politics Hasn't Changed Much
State of the Union takes a look at all the behind the scenes action that goes into the making a politician, such as the promises, deal making with interest groups, using the family in the campaign, etc. In other words, the same games being played even today in politics. It's the story of a businessman played by Spencer Tracy who gets talked into running for President, and along the way he loses his ideals and begins playing the games, under the familiar but false assumption that he'll just do it until he gets elected. Katharine Hepburn stars as his wife and conscience, a woman who wants him to speak the truth and say what's really on his mind, win or lose. Tracy and especially Hepburn are excellent in their roles, making a lot of dialogue sound fresh and real. Angela Lansbury is cold but convincing as a newspaper syndicate owner who is a behind the scenes player in the political game, pushing Tracy (with whom she's in love) into the presidential race. Van Johnson is a lot of fun as the aide with the dry sense of humour and realistic approach to everything. There's a good mix of laughs with dramatic moments, and surprisingly, the message behind the movie remains very current and rings true, over fifty years after the film was made. It would be interesting to watch this film along with some of the recent films made about politics and the White House.

HEPBURN, SPENCER AND CAPRA, WHAT A GREAT TEAM.
"State Of The Union" is an elegant movie about the politicians world and the media paraphernalia that usually surrounds them. The director Frank Capra combined very well comedy, drama and a smart screenplay, also, Capra always was surrounded with excellent actors, and "State Of The Union" is not an exception.

The couple made by Katharine Hepburn and Spencer Tracy has always been recognized as one of the best couples that appeared in the movies world, "State Of The Union" is another example of the elegance and finesse of these two great actors. Katharine Hepburn gave to her character intelligence, strength and passion, and Spencer Tracy gave another excellent performance as he usually did every time he appeared in a movie.

"State Of The Union" is at the same time an amusing and intelligent movie, it's recommendable for all the fans of Frank Capra, Katharine Hepburn and Spencer Tracy.

An underrated Frank Capra Gem...
"State of the Union" may not be one of Frank Capra's best films, nor is it the best pairing of Katherine Hepburn and Spencer Tracy, one of Hollywood's greatest couples (both on-screen and in real life). However, it is still excellent entertainment, and it's also a great political satire that still resonates even today. Grant Matthews (Tracy) is a nationally-known, flamboyant businessman who has made a fortune building airplanes, and still flies them (and even jumps out of them playing "games" with other pilots to see who can parachute to the ground first). He is having an affair with Kay Thorndyke (a deliciously manipulative, cold-blooded and lovely Angela Lansbury), the powerful publisher/owner of a national chain of newspapers. The affair has caused him to separate from his wife (Hepburn), who still loves him and hopes that he comes to his senses regarding Kay. When Thorndyke is unable to force her will onto the leading candidates for the 1948 Republican presidential nomination, she decides to go all-out to make her lover Matthews the GOP's presidential candidate. She talks the reluctant Matthews into getting into politics by telling him that he "owes it" to the people to share his "idealism" and talents with them. Of course, behind the scenes she cares nothing for Matthews' high ideals - she intends to make him President and then control the nation through him. Instead, Kay hires a corrupt but experienced GOP political "boss" named Jim Conover (Adolphe Menjou) to be Matthews' campaign manager. Conover clearly sees Matthews as merely a vehicle to regain power in Washington, and he also comes to see Matthews' idealism and honesty as an obstacle to his plans. Kay also hires her star reporter, the cynical but charming "Spike" McManus (a delightful Van Johnson) to be Matthews' press secretary. In a real show of chutzpah, Kay even convinces Matthews' estranged wife to stay with him on the campaign trail to present the image of a happily-married couple. As the plot develops, Matthews is slowly corrupted by Conover and his political cronies, but in the end his wife brings him back to his good senses. The film's climax - in which Matthews tries to deliver a speech announcing his presidential candidacy on national television while his angry, drunken wife gives his mistress a verbal thrashing - is one of the finest (and funniest) moments in any Hepburn-Tracy movie. As another reviewer pointed out, this film is what H. Ross Perot's first presidential campaign in 1992 could have been had he not turned out to be a few bricks shy of a full load. The notion of an idealistic and honest political "outsider" giving the corrupt "insiders" their comeuppance is an old but powerful theme in American politics - and Spencer Tracy's Grant Matthews is a perfect symbol of what we'd like for our leaders to be - honest, colorful, dynamic, idealistic, and more devoted to the good of the nation than to himself. Hopefully, someday we'll get leaders in real life who can match what we see on the movie screen. Until then, however, "State of the Union" makes a fine substitute. Recommended!

For a classic flim buff what could be better than an early
Hepburn/Tracy movie? Well this is one of their lesser efforts.
Yes, it is not particularly funny most of the time (it does have its moments). If your not really interested in politics it may be dull & boring.
This movie is about more than just entertainment. Frank Capra again has his honest every man, this time it's Spencer Tracy. This man, although he has a mistress, has a moral code that is corrupted, influenced by the lure of power. He is also amazingly naive. It is about a man, manipulated into negotiating away his values & integrity for that prize of power, in this case, the presidency. Without the usual
Kathrine/Spencer sparkle it still holds up. A young Angela Lanbury does a fine job as Tracy's ruthless & amoral girlfriend, the driving force behind the scenes. The issues this movie brings up & the politics of getting elected are still relevant today. ... Read more

Reviews (3)

Watch This Film And You Won't Be Sorry!
Impact has a very simple plot Walter Williams is marked for death by his cheating wife but when the plans go wrong and Williams is alive the film plays a great game of catchup! Donlevy is the star of the flick and he does more to draw you into the flick than dialogue ever could. He may not be tall but he has an imposing facing! His eyes and strong facial structure is a sight to see! I have to say that the film could have been shorter but in doing this some amazing cinematography would have been lost the image of a prisoned Willams (Donlevey) looking through a gate at his future love is amazing and the scene where his lover chases a woman who is crucial in freeing Williams of a crime through the narrow streets and shadows of chinatown is perfection. Impact may not be perfect but is is a very atmospheric and engaging ride non the least!

Starts out 40s noir, ends up 30s melodrama
Impact shows great promise in its first half, when industrialist Brian Donleavy's wife (Helen Walker -- the psychologist in Nightmare Alley) gets up to some homicidal duplicity. It's hard-core noir all the way, especially when push comes to shove on a dangerous mountain road. But then Donleavy ends up in Larkspur, Idaho, apparently suffering from amnesia, and falls for a girl mechanic. From here on in the tone grows sentimental and "women's-picture"-ish. When the climax comes, everybody seems suddenly to start behaving like imbeciles. There's enjoyable moments in Impact, but it's too compromised to be vintage noir.

Pretty entertaining
Totally implausible film noir but complex & entertaining nonetheless. Bear in mind its a Wade Williams release which ain't exactly Criterion. Picture quality is good; sound is so-so. The 4-star, rave review on the box is written by....Wade Williams. ... Read more

Reviews (6)

a great film!
Loretta Young and Jospeh Cotton make a great couple in this film. It has everything comedy, romance, and great scenery. Ethel Barrymore, is equally delightful in it. It's a film, well worth seeing.

Nice, light, 50s-ish postwar comedy-drama
Belabored, yet charming story of Loretta Young as a small-town girl who makes it big -- real big -- in Capitol City, by sticking to her simple honest values, and by nabbing Joseph Cotten, a state congressman who holds a torch for her. Very wholesome and very Fifties-ish, with some nice humorous touches (and a weird intimation of a postwar American fascist Fifth Column...) Charles Bickford is great as Cotton's sidekick/butler, who acts as the conscience of the household, and zips off a few choice zingers...

Loretta Young vs. Joseph Cotten
That's the choice the voters must make when politician Cotten finds himself being challenged for his seat by his own Swedish housemaid, Young. Young is very appealing in the title role as is Cotten; also see a very solid supporting performance by Ethel Barrymore as Cotten's mother.

A Truly Heartwarming Film - And Great Family Entertainment
This movie is as heartwarming as others, "It's A Wonderful Life" comes to mind, that have become classics, but it doesn't seem to get the same amount of respect. Loretta Young won an Academy Award for Best Actress for her role as Katie Holstrom, and she deserved it very much. Charles Bickford, as the butler Clancy, was also nominated that year in the Best Supporting Actor category. He was just great as well.

The story is about a young woman's journey to town from her father's farm to become a nurse. Once in town, she gets sidetracked by romance and politics. There are some wonderful moments throughout that will make you laugh and may even bring a tear to your eye. I can't recommend this film enough. It's just great.

Politics With A Swedish Flavour
Loretta Young stars as a young Swedish farm girl who goes into the big city and ends up as a maid for an important political family (Joseph Cotten and Ethel Barrymore). She has opinions herself, and wouldn't you know it, she winds up running for Congress herself. This is one of Young's most famous films, and the movie contains some of my favourite actors from the Forties (Cotten, Barrymore, and Charles Bickford as the family's butler). This is an easy, warm comedy that benefits from the expert performances of the entire cast. ... Read more

Reviews (4)

Film noir comes to suburbia in this suspenseful gem
Cause For Alarm (1951) is something of an oddity in the film noir genre, bringing its gritty sense of increasing tension and suspense out of the shadows of the night into the bright, daytime light of suburbia. Only a talented actress could make this story work, and Loretta Young shines in the role of the distraught wife of a paranoid, dying husband. Her character Ellen Jones seems to be quite the devoted wife caring selflessly for her bedridden husband George (Barry Sullivan), and a flashback to the couple's first meeting reveals a husband madly in love with her from the moment he laid eyes on her. This happy-go-lucky fellow is a far cry from the man we meet upstairs suffering from a mysterious heart ailment, for he has come to believe that his wife and best friend/doctor, Ranney Grahame (Bruce Cowling), are plotting to kill him so that they can be together. He is so convinced of this that he sends a thoroughly incriminating letter to the district attorney before confronting Ellen with his charges. He tells Ellen all about the letter that she herself delivered into the hands of the postman but collapses before he is able to exact his mad revenge upon her personally. Ellen's in a real spot; the man she loves has just died trying to kill her, and the terrible letter already on its way to the D.A. will make everyone think she killed him. What she must do, of course, is get that letter back before it reaches its destination. What follows is a frustrating, maddening, increasingly suspenseful paper chase, with all manner of obstacles placed in Ellen's way. Trying to get a letter back from the postman may not sound exciting, but Cause For Alarm delivers an almost frenetically suspenseful plot that leaves one wondering what will happen at the very end. Not only did I wonder if she would get the letter back in time, I wondered if there was more to George's paranoid suspicions than there originally seemed, as Ellen climbs up to the very pinnacle of panic, enmeshing herself in an increasingly entangling web of lies and deceit that stand to bring upon herself the very suspicions that she seeks to avoid. Cause For Alarm really and truly kept me in growing suspense from start to finish, culminating in a perfectly effective and satisfying conclusion.

A very entertaining film.
I really like this film. It's very entertaining, and makes the viewer wonder what will happen next. Loretta Young is great in the role of the young housewife. Her husband kills himself, but writes a suicide note accusing her. A letter that she mailed incriminate sher and she must get it back from the postman before it reaches th epolice. She goes through a frantic and stressful fight to get it back. She ends up finding love and a new life with a doctor who hd een her friend for years. It's a film well worth seeing.

A loco husband and an incriminating letter
Engrossing and taut "suburban noir" about a hapless housewife's formerly happy home life degenerating into a hell on earth. Loretta Young stars as the young wife whose once brash and confident husband has retuned from the war with a heart ailment and a sullen, mean temperament which spirals into all-out paranoia when he believes his wife and doctor friend are in love and planning to kill him. Barry Sullivan plays Young's invalid husband, who is relegated to the sickbed (when he's not sneakily creeping about) and generally makes day-to-day life miserable for her with his constant cutting remarks and her having to wait on him hand-and-foot. The action gets underway when Sullivan boasts to wife Young about a lengthy letter to the district attorney she has just posted for him--which contains detailed "evidence" of how his death has been planned, should it occur. He then intends to shoot her and then claiming self-defense--but just before he can do so the strain of his vituperative tirade and resultant physical exertion causes him to drop dead before her very eyes. Now the heat is on for Young to get that incriminating letter before it reaches the D.A., and the anguish and frustration she experiences at the many obstacles she faces will leave you feeling her pain!

Paranoia
Loretta Young got some of her best roles toward the end of her film career, and this was one of them. She stars as the patient and loving wife of Barry Sullivan, a bedridden man who has become paranoid and who manages to implicate her in his own death. Through a winding series of events, she must race against time to save herself from a murder charge. Young is excellent in the role, being given more opportunity to show her dramatic range than in many of the other films she made. The tension builds well and the story manages to remain credible. Although a small film and hardly a classic, it is quite good. ... Read more

Reviews (1)

Red Skelton at his best!
This movie is the greatest! Red Skelton is at his funniest in this hilarious film about a northern bellboy who dreams of becoming a spy during the Civil War. He finally gets his chance when he accidentally falls in with a ring of southern spies who think he is the notorious spy, "The Grey Spider". His adventures while masquerading as the grey spider will have you laughing long after the movie has ended! ... Read more

Reviews (5)

Five stars for historical accuracy of detail

This is one of the better historical films made about the war in the Pacific. and the 'thirties and 'forties aviation navy.

I was in naval aviation near the time this was written about, and know the aircraft depicted. The depictions are accurate; one of the rare movies not to throw in the wrong airplane in a battle scene. Like many other similar films about that period (Midway, Pearl Harbor, Tora, Tora, Tora, etc.) using U.S. Navy film footage from the color documentary, filmed aboard the U.S.S. Enterprise, The Fightin Lady, the footage shown was appropriate for the type of aircraft shown, including my favorite naval fighter of all time, the F6F "Hellcat" Grumman fighter which is credited with shooting down nearly eighty percent of all Japanese aircraft shot down in combat in the Pacific in whole war, closely followed by its little brother the F4F "Wildcat," which was declared obsolescent at the war's beginning--and outclassed by the A6M2 Mitsubishi "Zero."

Although many other airplanes are more famous. I will never forget the bellow of those Pratt & Whitney 2,800 cubic inch double row radials belching fire as they strained at their brakes and chocks at full throttle, waiting for the salute signalling take-off.

Or the sight of the SBD Douglas "Dauntless" dive-bombers dipping from sight below the bow and then struggling back up with their bomb loads as they left the deck. Great aircraft, and far more graceful than the SB2C Curtis "Helldiver" which replaced them (no relation to the biplane "Helldiver" depicted flying off the Langley in the early part of the film)

This is a good story, following a fictional aviator's career (Jonathan Scott), from the early days aboard the CV-1 (Langley) fighting for recognition of the role aviation was to play against the old battle ship admirals who almost scuttled our aviation program, with the assistance of a no-nothing Congress, through the war from its beginning to end. (The carrier depicted at the end of the movie was the U.S.S. Franklin, CV-13, an Essex class carrier. She was badly mauled at Okinawa and lucky to survive the Kamikazes. Now a museum ship in New York City.)

This is a fictional story about a real navy, and historically quite accurate, although not as much so as Midway in the names used and the actual battle. It is much closer, however, in many details. It does not show, as do most of such films, for example, the venerated SBD Douglas "Dauntless" dive bombers mis-cast as Japanese dive bombers attacking Pearl Harbor. Each time I see that footage, it makes me cringe. These guys have researchers and advisors. Why don't they use them?

Much of the film is black and white, but it ends in technicolor, as the flashback of Scott's career ends. Cooper is good in his part as he progresses from a junior officer through captain and of course the veteran actor Walter Brennan plays his part as the admiral flawlessly.

Joseph (Joe) Pierre, USN (Ret)

author of Handguns and Freedom...their care and maintenance
and other books

Gary Cooper fights WWII from a series of aircraft carriers
Gary Cooper plays Admiral Jonathan L. Scott in this 1949 film directed by Delmer Daves, that proved to be one of the most popular films of the late 1940s. About to retire, Scott recalls how he and other Navy Men had argued the importance of aircraft carriers. During one such argument Scott insults a Japanese diplomat and is sent to a desk job in Panama. But a year later he is aboard a new carrier, the U.S.S. Saratoga and after Pearl Harbor he is the Operations Officer on the Yorktown at the Battle of Midway, and ends up commanding his own flattop. At the Battle of Okinawa, his ship is badly damaged by a kamikaze attack, but refuses to abandon his ship. Jane Wyatt plays Mary Morgan, the widow of one of Scott's flying buddies, while Walter Brennan is Pete Richard, Scott's friend and later his commander. The stars of "Task Force" are Cooper and the Technicolor combat footage of World War II included in the film, which gave it an authenticity beyond most war films. The first part of the film drags while we endure Cooper trying to be romantic with Wyatt and wait for the war to start. But the battle sequences are quite compelling. Too bad "Task Force" does not have a title that better reflects that this film is about the flattops in WWII.

Highly Entertaining and Underrated
This is a well-made and highly entertaining story staring Gary Cooper as a Naval officer who devotes his career to the development of the aircraft carrier as the vanguard of future Naval superiority. This is an extremely entertaining film directed by Delmer Daves a meticulous craftsman who enhances his stories by bringing out the depth of his characters as is the case here. The film also featured Jane Wyatt, Walter Brennan, Julie London, Kenneth Tobey and Wayne Morris. The excellent photography was supplied by Robert Burks (Alfred Hitchcock's Cinematographer) and Wilfrid M. Cline. Franz Waxman (MISTER ROBERTS, STALAG 17, THE SPIRIT OF ST. LOUIS and OBJECTIVE, BURMA!) composed the score. The recognition of this great film is long overdue.

nice tale of naval aviation from biplane to jet
Gary Cooper stars in this movie that follows the rise of naval aviation from the biplane era to the jet age. Along for the ride are "old reliable" Walter Brennan, as Coop's friend and superior officer, and Jane Wyatt, who adds the feminine touch to an otherwise "guy flick". Actual footage of early carrier mishaps, and WWII combat make this a real action packed film. I had trouble with the transition from black and white to color late in the movie, but credit this to some sort of attempt to show the evolution of naval aviation in the step from piston to jet aircraft. Worth having.

Task Force
Task Force is only for Gary Cooper fans. It tells the story in semi-documentary style of the birth of naval aviation. Gary Cooper is the person who grows with the naval arm and its ups and downs. It has exciting war scences and the way it was edited it looks like Gary Cooper and the cast were really there at the battle of Midway and the battle for Okinawa. Half way through the movie it turns from black and white to color. I guess it is suppose to acknowledge a new age in naval aviation. Jane Wyatt who later would play Spock's mother in the Star Trek TV series and in the movies is just around for window dressing. Walter Brennan who plays Coop's superior officer is always a joy to watch.The movie is slow in the beginning, but as I said, it picks up with WWII begins. Only Coop's fans and WWII buffs will enjoy this movie. ... Read more

Reviews (3)

What Great Character Actor Performances!
Clark Gable owns a gambling club where he must deal with crisis after crisis with customers. At home, his son loves him, but doesn't like him, his wife is trying to keep everyone happy, and his brother-in-law that lives with him and works for him is cheating him. Not surprisingly, all the tension is giving him chest pains and making him re-evaluate his life. The film starts off slowly, but picks up steam as it goes along, building to a very good conclusion. Gable is terrific here, conflicted, tough, in crisis, and in charge. Alexis Smith, somewhat underrated as an actress I think, is also strong as his wife that reveals a lot more toughness then she appears to have. But as good as the leads are, it is the terrific character actors that support them that make this film memorable. Marjorie Rambeau, Lewis Stone, Frank Morgan, and the great Mary Astor all contribute top performances, each actor bringing a lifetime of experiences to their characters. The script has some great lines (courtesy of future director Richard Brooks) and takes a serious look at the effects of gambling on individuals and families. When you get past the first forty-five minutes or so, the film really picks up and becomes quite good.

An Extraordinary Glimpse Of The Real Clark Gable
"Any Number Can Play" is a sombre,post-war drama about the family life of an aging professional gambler.It's also one of the most fascinating of all the Gable vehicles,for reasons we can appreciate much more in hindsight.1949 critics dismissed it---audiences at the time were dissappointed(this wasn't the old pre-war Gable they knew)---and Metro ledger books showed less black ink,but what a performance he gives!This is like watching home movies of a great star recently back from the war---the man might as well have been playing himself.In the opening reel,he's throwing down drinks,cigarettes---calling in heart doctor Leon Ames about the chest pains he's been concealing----sound familiar?If you've read any Gable bios,this is like following the star into his own doctor's office---he really lays it on the line in this picture.They said Gable spent a career just "playing himself"---the truth is he gave us thirty years playing out the drama of his own life on screen---never self-consciously(I doubt if Gable himself sensed the parallels---it would have been hard to face them if he did).He was too honest and forthright as an actor to hide behind putty faces and show-off performances---but no one in his business was more generous or revealing of his own disillusionments after the war than Gable.There's the tremor in his hands(with the onset of his own Parkinson's)when he's rushing Audrey Totter to pour him a drink---his world-weary gambler is like the mid-life crisis of Blackie Norton,Blackie Gallagher,or any number of cocky,free-spirit characters he had played during the thirties before the war,the death of wife Carole Lombard,and other things knocked a lot of the fight out of him.It's a great performance.Do yourself a favor----read about Gable's life,then buy this movie and watch a great actor sharing his life with his audience.

particularly good for the gambling-related scenes
I enjoyed the movie in its own right and also because of the gambling scenes and discussion, a hobby of mine (collecting gambling chips and equipment). I just want to add that I can't think, off hand, of another movie with so much discussion about gambling and gamblers and what makes them tick. There is a huge amount of gambling scenes and gambling equipment (from 50 years ago)..........Another plus is the terrific cast; take a look. ... Read more

Reviews (15)

Pure Kitsch
It's nice to see that Peter Fonda has redeemed himself in recent years ("Ulee's Gold", "The Limey", "The Passion of Ayn Rand" et al.), and even has a couple of Golden Globes and an Oscar Nomination to show for it. But he certainly wouldn't want to be remembered for this awful piece of drive-in drivel (although "Easy Rider" will probably be marked on his gravestone). I gave it three stars for kitsch value. Otherwise, it doesn't deserve any. This movie is bad, but in a very amusing way.

"The Wild Angels" is "Easy Rider" written by Fred Durst. The plot is pretty weak, juvenile, and has plenty of holes in it. The actions the characters make echo the song "Break Stuff"; at the beginning of the film, when Loser's (Bruce Dern) Boss ask Heavenly Blues (Fonda)if he's "one of those dumb angels", Blues replies snidely and restrains him needlessly. And the dialogue is mediocre and poorly executed.

If you're looking for compelling drama, look elsewhere. If you're looking to amuse yourself, then by all means take the plunge!

The original biker movie
I'm not a movie critic, I'm a motorcyclist. I have this film on video and watch it fairly often, along with Beyond The Law, Hells Angels on Wheels and Angels Hard As They Come (the most underrated of biker flicks). Fonda, Dern, Ladd, Buck Taylor and Norman Alden are great. Nancy Sinatra was terrible and totally miscast, if she' repudiating this movie it's due to her terrible acting. I can't see Micheal J. Pollard as a biker (but he was wonderful in Little Fauss and Big Halsy). The star of this movie is Fonda's chopper, to me, it's more beautiful, and subltly understated, than that ultimate movie chopper in Easy Rider, the Captain America Bike. This movie is really about Heavenly Blue's changing values as his friend Loner dies. Girlfriend Sinatra realizes the change that's come over him, "it's like a piece of you went with him". He reveiws his life and sees it empty, without purpose without his closest compadre The Loser, as in the final line "there's no where to go" as he stays to bury his friend while others flee The Man. They go on to continue the life of carousing and hell raising while Blues follows through on a duty to a friend, and to me symbolically buries himself, his up-to-then life, as well as his only friend.

Not just sexist, but racist.....
as exhibited by the comments and attacks on a group of Mexicans. Fonda is about as animated as a cigar-store Indian, Nancy Sinatra is woefully miscast, Diane Ladd is over the top and predictable. In fact, the best performance may be delivered by Bruce Dern.....as a corpse.

A Must Have for Any Biker Video Collection
"We want to be free to do what we want to do without being hassled by the man! And we want to get loaded!" "YEAH!"

What more can I possibly add?

Oh yeah. Theme music by Davie Allan.

People think Easy Rider was good but this movie defined the bikesploitation genre.

Disturbing, yet interesting
Oddly, though the characters in this movie are all dispicable individuals, in some ways, I could still find myself sympathizing with their rebellion against "the man". This movie definitely has more of a '70's feel to it than the '60's, and holds up well today.

I will admit, I did find the use of the swastikas and iron crosses to be offensive. But, I think such individuals in the '60's used them more to shock those who tried to control them, than as a support of what they truly represented...and to have realism, they had to be included.

One technical aspect to the movie...and two to the DVD on which I need to comment:

1. Did the movie always end so abruptly, with no closing credits or even a "The End" caption? Or is this poor editing?

As for the DVD...

2. The print from which this movie was taken was in terrible condition. At some points the picture is beautiful. But others show dirt, hair, and sprocket marks. Worst of all is a tear in the film, patched with tape, which is readily visible. This occurs in the scene in which Sinatra has just entered the door of the hospital, and the camera is panning over to the nurse's station.

3. There also seem to be some areas of the film which are out of focus. I primarily noticed this when Nancy and Peter are talking alone on the boat before leaving for the funeral.

All in all, this picture can be viewed more as a snapshot of an era than as pure entertainment. If taken as such, it proves somewhat interesting. ... Read more

Reviews (15)

Pure Kitsch
It's nice to see that Peter Fonda has redeemed himself in recent years ("Ulee's Gold", "The Limey", "The Passion of Ayn Rand" et al.), and even has a couple of Golden Globes and an Oscar Nomination to show for it. But he certainly wouldn't want to be remembered for this awful piece of drive-in drivel (although "Easy Rider" will probably be marked on his gravestone). I gave it three stars for kitsch value. Otherwise, it doesn't deserve any. This movie is bad, but in a very amusing way.

"The Wild Angels" is "Easy Rider" written by Fred Durst. The plot is pretty weak, juvenile, and has plenty of holes in it. The actions the characters make echo the song "Break Stuff"; at the beginning of the film, when Loser's (Bruce Dern) Boss ask Heavenly Blues (Fonda)if he's "one of those dumb angels", Blues replies snidely and restrains him needlessly. And the dialogue is mediocre and poorly executed.

If you're looking for compelling drama, look elsewhere. If you're looking to amuse yourself, then by all means take the plunge!

The original biker movie
I'm not a movie critic, I'm a motorcyclist. I have this film on video and watch it fairly often, along with Beyond The Law, Hells Angels on Wheels and Angels Hard As They Come (the most underrated of biker flicks). Fonda, Dern, Ladd, Buck Taylor and Norman Alden are great. Nancy Sinatra was terrible and totally miscast, if she' repudiating this movie it's due to her terrible acting. I can't see Micheal J. Pollard as a biker (but he was wonderful in Little Fauss and Big Halsy). The star of this movie is Fonda's chopper, to me, it's more beautiful, and subltly understated, than that ultimate movie chopper in Easy Rider, the Captain America Bike. This movie is really about Heavenly Blue's changing values as his friend Loner dies. Girlfriend Sinatra realizes the change that's come over him, "it's like a piece of you went with him". He reveiws his life and sees it empty, without purpose without his closest compadre The Loser, as in the final line "there's no where to go" as he stays to bury his friend while others flee The Man. They go on to continue the life of carousing and hell raising while Blues follows through on a duty to a friend, and to me symbolically buries himself, his up-to-then life, as well as his only friend.

Not just sexist, but racist.....
as exhibited by the comments and attacks on a group of Mexicans. Fonda is about as animated as a cigar-store Indian, Nancy Sinatra is woefully miscast, Diane Ladd is over the top and predictable. In fact, the best performance may be delivered by Bruce Dern.....as a corpse.

A Must Have for Any Biker Video Collection
"We want to be free to do what we want to do without being hassled by the man! And we want to get loaded!" "YEAH!"

What more can I possibly add?

Oh yeah. Theme music by Davie Allan.

People think Easy Rider was good but this movie defined the bikesploitation genre.

Disturbing, yet interesting
Oddly, though the characters in this movie are all dispicable individuals, in some ways, I could still find myself sympathizing with their rebellion against "the man". This movie definitely has more of a '70's feel to it than the '60's, and holds up well today.

I will admit, I did find the use of the swastikas and iron crosses to be offensive. But, I think such individuals in the '60's used them more to shock those who tried to control them, than as a support of what they truly represented...and to have realism, they had to be included.

One technical aspect to the movie...and two to the DVD on which I need to comment:

1. Did the movie always end so abruptly, with no closing credits or even a "The End" caption? Or is this poor editing?

As for the DVD...

2. The print from which this movie was taken was in terrible condition. At some points the picture is beautiful. But others show dirt, hair, and sprocket marks. Worst of all is a tear in the film, patched with tape, which is readily visible. This occurs in the scene in which Sinatra has just entered the door of the hospital, and the camera is panning over to the nurse's station.

3. There also seem to be some areas of the film which are out of focus. I primarily noticed this when Nancy and Peter are talking alone on the boat before leaving for the funeral.

All in all, this picture can be viewed more as a snapshot of an era than as pure entertainment. If taken as such, it proves somewhat interesting. ... Read more

Amazon.com

In Cause for Alarm, Loretta Young is an elegantly tailored happy homemaker caring for her invalid husband (Barry Sullivan), a former pilot suffering from a mysterious heart disease that has driven him to almost complete madness. Convinced his wife and his doctor are in collusion to kill him, he's carefully recorded the "evidence" of their crime in a letter to the district attorney and prepares to turn the tables on them, but even his own sudden death can't stop the chain of events that plunges his wife into a waking nightmare. An unusual entry into the film noir school of paranoia, TayGarnett's melodramatic thriller trades the dark alleys and long shadows of urban menace for the sunny, tree-lined streets of middle-class domesticity. Young, so often cool, calm, and carefully coifed in her studio roles, beautifully evokes the American Dream as the dutiful wife who collapses into a state of hysterical desperation. Spinning a web of lies to retrieve the damning letter, her world falls apart around her as she unwittingly sinks herself deeper into a morass of suspicion and circumstantial evidence. Though this is less slick and stylish than his claim to film noir fame The Postman Always Rings Twice, Garnett spins a simple premise into a tense, terrifying ordeal, and Young's deadened narration adds an eerie mood of doom to the suburban setting. --Sean Axmaker ... Read more

Reviews (4)

Film noir comes to suburbia in this suspenseful gem
Cause For Alarm (1951) is something of an oddity in the film noir genre, bringing its gritty sense of increasing tension and suspense out of the shadows of the night into the bright, daytime light of suburbia. Only a talented actress could make this story work, and Loretta Young shines in the role of the distraught wife of a paranoid, dying husband. Her character Ellen Jones seems to be quite the devoted wife caring selflessly for her bedridden husband George (Barry Sullivan), and a flashback to the couple's first meeting reveals a husband madly in love with her from the moment he laid eyes on her. This happy-go-lucky fellow is a far cry from the man we meet upstairs suffering from a mysterious heart ailment, for he has come to believe that his wife and best friend/doctor, Ranney Grahame (Bruce Cowling), are plotting to kill him so that they can be together. He is so convinced of this that he sends a thoroughly incriminating letter to the district attorney before confronting Ellen with his charges. He tells Ellen all about the letter that she herself delivered into the hands of the postman but collapses before he is able to exact his mad revenge upon her personally. Ellen's in a real spot; the man she loves has just died trying to kill her, and the terrible letter already on its way to the D.A. will make everyone think she killed him. What she must do, of course, is get that letter back before it reaches its destination. What follows is a frustrating, maddening, increasingly suspenseful paper chase, with all manner of obstacles placed in Ellen's way. Trying to get a letter back from the postman may not sound exciting, but Cause For Alarm delivers an almost frenetically suspenseful plot that leaves one wondering what will happen at the very end. Not only did I wonder if she would get the letter back in time, I wondered if there was more to George's paranoid suspicions than there originally seemed, as Ellen climbs up to the very pinnacle of panic, enmeshing herself in an increasingly entangling web of lies and deceit that stand to bring upon herself the very suspicions that she seeks to avoid. Cause For Alarm really and truly kept me in growing suspense from start to finish, culminating in a perfectly effective and satisfying conclusion.

A very entertaining film.
I really like this film. It's very entertaining, and makes the viewer wonder what will happen next. Loretta Young is great in the role of the young housewife. Her husband kills himself, but writes a suicide note accusing her. A letter that she mailed incriminate sher and she must get it back from the postman before it reaches th epolice. She goes through a frantic and stressful fight to get it back. She ends up finding love and a new life with a doctor who hd een her friend for years. It's a film well worth seeing.

A loco husband and an incriminating letter
Engrossing and taut "suburban noir" about a hapless housewife's formerly happy home life degenerating into a hell on earth. Loretta Young stars as the young wife whose once brash and confident husband has retuned from the war with a heart ailment and a sullen, mean temperament which spirals into all-out paranoia when he believes his wife and doctor friend are in love and planning to kill him. Barry Sullivan plays Young's invalid husband, who is relegated to the sickbed (when he's not sneakily creeping about) and generally makes day-to-day life miserable for her with his constant cutting remarks and her having to wait on him hand-and-foot. The action gets underway when Sullivan boasts to wife Young about a lengthy letter to the district attorney she has just posted for him--which contains detailed "evidence" of how his death has been planned, should it occur. He then intends to shoot her and then claiming self-defense--but just before he can do so the strain of his vituperative tirade and resultant physical exertion causes him to drop dead before her very eyes. Now the heat is on for Young to get that incriminating letter before it reaches the D.A., and the anguish and frustration she experiences at the many obstacles she faces will leave you feeling her pain!

Paranoia
Loretta Young got some of her best roles toward the end of her film career, and this was one of them. She stars as the patient and loving wife of Barry Sullivan, a bedridden man who has become paranoid and who manages to implicate her in his own death. Through a winding series of events, she must race against time to save herself from a murder charge. Young is excellent in the role, being given more opportunity to show her dramatic range than in many of the other films she made. The tension builds well and the story manages to remain credible. Although a small film and hardly a classic, it is quite good. ... Read more

Reviews (4)

Film noir comes to suburbia in this suspenseful gem
Cause For Alarm (1951) is something of an oddity in the film noir genre, bringing its gritty sense of increasing tension and suspense out of the shadows of the night into the bright, daytime light of suburbia. Only a talented actress could make this story work, and Loretta Young shines in the role of the distraught wife of a paranoid, dying husband. Her character Ellen Jones seems to be quite the devoted wife caring selflessly for her bedridden husband George (Barry Sullivan), and a flashback to the couple's first meeting reveals a husband madly in love with her from the moment he laid eyes on her. This happy-go-lucky fellow is a far cry from the man we meet upstairs suffering from a mysterious heart ailment, for he has come to believe that his wife and best friend/doctor, Ranney Grahame (Bruce Cowling), are plotting to kill him so that they can be together. He is so convinced of this that he sends a thoroughly incriminating letter to the district attorney before confronting Ellen with his charges. He tells Ellen all about the letter that she herself delivered into the hands of the postman but collapses before he is able to exact his mad revenge upon her personally. Ellen's in a real spot; the man she loves has just died trying to kill her, and the terrible letter already on its way to the D.A. will make everyone think she killed him. What she must do, of course, is get that letter back before it reaches its destination. What follows is a frustrating, maddening, increasingly suspenseful paper chase, with all manner of obstacles placed in Ellen's way. Trying to get a letter back from the postman may not sound exciting, but Cause For Alarm delivers an almost frenetically suspenseful plot that leaves one wondering what will happen at the very end. Not only did I wonder if she would get the letter back in time, I wondered if there was more to George's paranoid suspicions than there originally seemed, as Ellen climbs up to the very pinnacle of panic, enmeshing herself in an increasingly entangling web of lies and deceit that stand to bring upon herself the very suspicions that she seeks to avoid. Cause For Alarm really and truly kept me in growing suspense from start to finish, culminating in a perfectly effective and satisfying conclusion.

A very entertaining film.
I really like this film. It's very entertaining, and makes the viewer wonder what will happen next. Loretta Young is great in the role of the young housewife. Her husband kills himself, but writes a suicide note accusing her. A letter that she mailed incriminate sher and she must get it back from the postman before it reaches th epolice. She goes through a frantic and stressful fight to get it back. She ends up finding love and a new life with a doctor who hd een her friend for years. It's a film well worth seeing.

A loco husband and an incriminating letter
Engrossing and taut "suburban noir" about a hapless housewife's formerly happy home life degenerating into a hell on earth. Loretta Young stars as the young wife whose once brash and confident husband has retuned from the war with a heart ailment and a sullen, mean temperament which spirals into all-out paranoia when he believes his wife and doctor friend are in love and planning to kill him. Barry Sullivan plays Young's invalid husband, who is relegated to the sickbed (when he's not sneakily creeping about) and generally makes day-to-day life miserable for her with his constant cutting remarks and her having to wait on him hand-and-foot. The action gets underway when Sullivan boasts to wife Young about a lengthy letter to the district attorney she has just posted for him--which contains detailed "evidence" of how his death has been planned, should it occur. He then intends to shoot her and then claiming self-defense--but just before he can do so the strain of his vituperative tirade and resultant physical exertion causes him to drop dead before her very eyes. Now the heat is on for Young to get that incriminating letter before it reaches the D.A., and the anguish and frustration she experiences at the many obstacles she faces will leave you feeling her pain!

Paranoia
Loretta Young got some of her best roles toward the end of her film career, and this was one of them. She stars as the patient and loving wife of Barry Sullivan, a bedridden man who has become paranoid and who manages to implicate her in his own death. Through a winding series of events, she must race against time to save herself from a murder charge. Young is excellent in the role, being given more opportunity to show her dramatic range than in many of the other films she made. The tension builds well and the story manages to remain credible. Although a small film and hardly a classic, it is quite good. ... Read more

Reviews (3)

Watch This Film And You Won't Be Sorry!
Impact has a very simple plot Walter Williams is marked for death by his cheating wife but when the plans go wrong and Williams is alive the film plays a great game of catchup! Donlevy is the star of the flick and he does more to draw you into the flick than dialogue ever could. He may not be tall but he has an imposing facing! His eyes and strong facial structure is a sight to see! I have to say that the film could have been shorter but in doing this some amazing cinematography would have been lost the image of a prisoned Willams (Donlevey) looking through a gate at his future love is amazing and the scene where his lover chases a woman who is crucial in freeing Williams of a crime through the narrow streets and shadows of chinatown is perfection. Impact may not be perfect but is is a very atmospheric and engaging ride non the least!

Starts out 40s noir, ends up 30s melodrama
Impact shows great promise in its first half, when industrialist Brian Donleavy's wife (Helen Walker -- the psychologist in Nightmare Alley) gets up to some homicidal duplicity. It's hard-core noir all the way, especially when push comes to shove on a dangerous mountain road. But then Donleavy ends up in Larkspur, Idaho, apparently suffering from amnesia, and falls for a girl mechanic. From here on in the tone grows sentimental and "women's-picture"-ish. When the climax comes, everybody seems suddenly to start behaving like imbeciles. There's enjoyable moments in Impact, but it's too compromised to be vintage noir.

Pretty entertaining
Totally implausible film noir but complex & entertaining nonetheless. Bear in mind its a Wade Williams release which ain't exactly Criterion. Picture quality is good; sound is so-so. The 4-star, rave review on the box is written by....Wade Williams. ... Read more

Reviews (5)

Five stars for historical accuracy of detail

This is one of the better historical films made about the war in the Pacific. and the 'thirties and 'forties aviation navy.

I was in naval aviation near the time this was written about, and know the aircraft depicted. The depictions are accurate; one of the rare movies not to throw in the wrong airplane in a battle scene. Like many other similar films about that period (Midway, Pearl Harbor, Tora, Tora, Tora, etc.) using U.S. Navy film footage from the color documentary, filmed aboard the U.S.S. Enterprise, The Fightin Lady, the footage shown was appropriate for the type of aircraft shown, including my favorite naval fighter of all time, the F6F "Hellcat" Grumman fighter which is credited with shooting down nearly eighty percent of all Japanese aircraft shot down in combat in the Pacific in whole war, closely followed by its little brother the F4F "Wildcat," which was declared obsolescent at the war's beginning--and outclassed by the A6M2 Mitsubishi "Zero."

Although many other airplanes are more famous. I will never forget the bellow of those Pratt & Whitney 2,800 cubic inch double row radials belching fire as they strained at their brakes and chocks at full throttle, waiting for the salute signalling take-off.

Or the sight of the SBD Douglas "Dauntless" dive-bombers dipping from sight below the bow and then struggling back up with their bomb loads as they left the deck. Great aircraft, and far more graceful than the SB2C Curtis "Helldiver" which replac