Lively, entertaining reviews of, and essays on, old and newer films and everything relating to them, written by professional author William Schoell.
Showing posts with label Ira Levin. Show all posts
Showing posts with label Ira Levin. Show all posts

Thursday, March 3, 2011

DEATHTRAP


DEATHTRAP (1982). Director: Sidney Lumet. Based on the Broadway play by Ira Levin.

"I'll tell you how good it is -- even a gifted director can't hurt it."

If only ... Playwright Sidney Bruhl (Michael Caine) is dismayed when his latest offering is trashed by the critics, even though his faithful and wealthy wife Myra (Dyan Cannon) remains his biggest booster. When he reads a play written by Clifford Anderson (Christopher Reeve), a student of his, Bruhl hatches a plot to steal away the script anyway he can. But things are a little more complicated than at first they seem. Caine and Cannon are superb, and Reeve offers one of his best performances, but while the film is entertaining and has a few twists, the characters remain one-dimensional and the film is, ultimately, just a psycho-sexual stunt. A better writer could have made something out of the generational difference between two of the protagonists and their perhaps divergent attitudes toward their sexuality -- all of which seems thrown in just for some added "shock" value and is never explored with any depth or intelligence. [Even in 1982 a film that basically traded off "nasty queers" was pretty dated; meaning the movie was hardly "hip" as its makers must have thought] Irene Worth is irritating as a psychic neighbor, but Henry Jones is, as usual, adept as Bruhl's lawyer. Lumet turns in one of his better directorial jobs although he's certainly no Hitchcock.

Verdict: Not as much fun as it sounds. **.

Wednesday, January 23, 2008

A KISS BEFORE DYING

A KISS BEFORE DYING (1956). Director: Gerd Oswald. NOTE: Some plot details are discussed in this review.

Okay adaptation of Ira Levin's suspense novel features Robert Wagner as a charming sociopathic killer who shoves his pregnant girlfriend (Joanne Woodward) off of a roof and then zeros in on her equally wealthy sister (Virginia Leith). Mary Astor is pretty much wasted as Wagner's mother; Jeffrey Hunter offers an odd performance as a pipe-smoking junior detective; and George Macready is positively weird – like Igor in one of the Frankenstein movies – as Leith and Woodward's cold-hearted father. The CinemaScope photography is very good, although Oswald often employs very, very long takes [often the fashion in wide-screen movies of the period] which aren't very cinematic. However, the movie is entertaining and suspenseful, and Wagner's performance is smooth if not outstanding. [The bad remake starring Matt Dillon makes little sense, as Dillon already seems like a hoodlum before he commits a single murder.] It's hard to tell which murder is more disturbing: Woodward's high-story plunge, or the shooting death of the disk jockey that Wagner frames for the murder even as the frightened young man (Robert Quarry) pleads for his life. Woodward is as good as ever and Leith is more than adequate.

Verdict: Intriguing, if imperfect, thriller. ***.