Fear In the Night (1947)

Plot: A midnight burglary ... shadowy screams ... a weird octagonal room ... two people murdered. Vince Grayson (DeForest Kelley) sits up in bed after a horrible nightmare - or was it? When he discovers that his wrist is injured and he has a strange key in his pocket, he's afraid it was much more than a dream - that it really happened somehow while he was asleep. But instead of trying to help, his detective brother-in-law (Paul Kelly) believes it was cold-blooded murder, and he vows to bring Vince to justice. How can Vince persuade Cliff that he wasn't controlling his actions? And how will he ever find out what was controlling him?

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High Points:
- Fast-paced action and creepy special effects
- Unusual plot twists that keep you on the edge of your seat
- Dark film noir feel without the immoral overtones that often accompany the genre
- Emotional, desperate performance by a very young DeForest Kelley
- Another smoothly creepy bad guy

Could Be Better:
- The movie begins immediately in the middle of the action, so you don't get to know the main character until later in the movie. Because of this, it takes a while to warm up to him.
-  This is a very low-budget film, so it is short and the quality is not the greatest. The acting is good, as most of the actors had experience as supporting cast members of other films, but the sets and music are fairly cheap.

Possible Concerns:
- Vince Grayson, in his desperation, attempts to commit suicide twice. It is not inappropriately portrayed or overly graphic, but some might take issue with including this in a movie.
- It is revealed later in the movie that the two murder victims were involved in an adulterous relationship. Again, the references are innocuous, and neither essential to the plot nor emphasized.

Vicki's Vote: 3/5

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Fear in the Night is a low-budget film noir that plays out like a story in a magazine - low on characterization and description, but high on action and thrills. Vince Grayson is a quiet young banker who lives a nice life, puttering along in a nice job, a nice relationship with his sweet girlfriend Betty, and a nice friendship with his sister and brother-in-law. His world is quiet and predictable. But one morning, he sits up in bed terrified after a bizarre nightmare - that he murdered a man and a woman who were robbing a safe in an eerie, mirrored octagonal room.

What a dream! Or was it? Vince discovers wounds on his neck and wrist in exactly the places that the shadowy thieves grappled with him, and in his pocket are an unfamiliar button and a strange old key - items that were not there the night before. Vince is overcome with horror. Could he have murdered people in his sleep? And without waking up?

Sick with fear and revulsion, Vince skips work and goes to see his brother-in-law Cliff, a detective with the local police force. Cliff dismisses the story as just a realistic dream caused by Vince's overworked nerves, even after a spill of blood-red nail polish causes Vince to panic and faint.

The next morning, Vince feels no better - if anything, he is even more certain that he must find the answer to his mystery. He scours newspapers for a week, searching for any reference to a murder or to a mirrored octagonal room. But it is by sheer chance that he, his sister Lill, Cliff, and Betty find themselves on the road to the murder house - and though the territory looks completely unfamiliar to him, he is subconsciously able to direct Cliff straight to the house and know exactly where to find the key.

Then they find the octagonal room with bloodstains on the wall, and a police colleague of Cliff's comes by the house and begins to give details on the murder. Cliff begins to believe Vince's story - to a point. He informs Vince that in 24 hours, he will be arrested for murder. Vince is desperate. How can he convince Cliff that he wasn't controlling his own actions? Will he be able to solve the mystery before he's sent to jail for life - or worse?

I sought out this movie because I wanted to see DeForest Kelley's film debut, and I was delighted to find that his acting was the same when he was twenty as it was when he was fifty. His pleasant Southern drawl and exaggerated facial expressions made the movie very enjoyable.

Undeniably, however, this is an odd film. It is by far the lowest-budget film I have watched for a long time. The music is cheesily haunting, a constant moan in the background of every scene; the idea of what made Vince Grayson murder someone in his sleep is so original that it's almost tacky (and Cliff seems to figure it out in a flash of inspiration rather than a logical process that you can actually follow); and the constant despair and hopelessness in Vince's eyes make you wish there were something you could do to help him out of this mess he's in. The first scene hurls you into the action with bewildering speed, and the rest of the movie is a nail-biting ride of clenching your chair while you wonder what's going to happen to this poor guy next.

Despite its flaws, however, this is a clean movie that would be completely suitable for older kids and young teens old enough to handle strong despair and attempted suicide. I would suggest that it is especially appropriate for guys, as there is lots of action but little characterization and almost no romance. As a rather rare film, it's also a good addition to the repertoire of the devoted classic movie fan. And if you are familiar with DeForest Kelley from Star Trek, Bonanza, or Gunsmoke, you will enjoy the chance to see him as a (very) young rising actor.

If you have an hour to spend and would like to watch something a little different, I would recommend this movie without hesitation. You'll be surprised to find out what took over Vince Grayson's mind!

 For More Information:

Plot Synopsis With Spoilers

Plot Synopsis Without Spoilers

Full Movie on YouTube

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Tribute to the Greats: Buster Keaton

Joseph Frank "Buster" Keaton was one of the greatest stars of American silent movies. He was brought up in vaudeville with his parents and siblings, who perfected an act known as "The Three Keatons: The Roughest Act That Was Ever in the History of the Stage" - young Buster was regularly tossed, thrown, dropped, chucked into the audience, and told to come crashing down stairs as though he were going to be killed. The only requirement was that he not get killed. Buster soon learned to execute fantastic stunts while (mostly) avoiding serious injury; and when his father's alcoholism forced him to leave the act in his early twenties, he found an instant niche performing his hilariously funny but demanding and dangerous stunts in film.

 

Buster began working in short, 30- to 40-minute comedy films, partnered with Roscoe "Fatty" Arbuckle, an established comedy star at the time. Their partnership was brilliant. Sometimes Arbuckle was the helpless victim of Buster's dizzy schemes; sometimes Arbuckle would rescue Buster from one calamity or another; often, Arbuckle was the slow-witted friend of the happy-go-lucky Buster. And sometimes, they were just equal partners in silliness.

Eventually, Buster began to star in his own films, and eventually to direct them. He wrote, acted in, and directed 20 films between 1917 and 1923 alone, including classic films such as Neighbors, Hard Luck, and The High Sign.

Buster's acting trademark, besides his porkpie hat, was his characters' ability to endure everything the movies threw at him - adventure, danger, romance, and comedy - without smiling. He had learned during his vaudeville days that the audiences found it funnier when outrageous things happened to him, but he didn't laugh. He became known as "The Great Stone Face" for his deadpan expression and apparent lack of emotion; but with the advent of film, audiences could enjoy his gift for expressing subtle emotions through his enormous eyes.

In 1926, Buster co-directed and starred in The General. This silent adventure-romance movie about a steam locomotive engineer in the Civil War was a flop at the time, and in fact contributed to Buster's then-failing career; but is now regarded by many film critics as one of the greatest movies ever made.

During the late 1920's and into the 1930's and 40's, however, Buster's career began to decline. Although he was excited about the advent of "talkies" and eager to try out his talents in sound films, he also had to sell out to another company - he could no longer direct his own films. His personal life was suffering as well, from alcoholism and his failed marriage. As a result, he was cast in goofy, slow-witted roles that sharply contrasted with his persona of the lovable schemer of the 1920's. An example is this 1930's film about Prohibition, What! No Beer?, in which he was cast alongside another popular comedian, Jimmy Durante.

Buster went through a black period in his life in the late 1930's. Things began to turn around when he married Eleanor Norris in 1940. Eleanor was 23 years younger than Buster, but she helped him break free of alcoholism and begin rebuilding his career, little by little; and by the late 40's, he had begun appearing once again in movies, including cameo roles in well-loved movies such as In the Good Old Summertime (1949).

As a matter of fact, Buster's talent for directing comedy was so revered that director Robert Leonard requested that Buster direct one of the funniest scenes in In the Good Old Summertime. The scene that Buster produced unmistakeably reflects his style from his 1920's comic shorts.

Buster turned his attention to television in the 1950's and 60's, with his own weekly TV show, regular cameos on other shows, and occasional film appearances. He became something of a living legend to American viewers and was once again well-known and loved.

Buster Keaton died of lung cancer in 1966. His legacy, however, continues to live on. His use of props and sets pioneered the way for later innovations in stunt acting, and his skillful combination of comedy, love, loneliness, attitude, and optimism drew audiences to the theater in a critical time of cinema's early development. Even today, his movies draw thousands of views on YouTube, and he was recently featured in a Turner Classic Movies tribute week showcasing some of his best-loved films. He was truly one of the most important actor/directors in motion picture history.

 

Dates and information cited from Wikipedia.

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The Remains of the Day (1997)

Plot: Being the ideal butler and loyal servant to his master is the only thing that matters to Mr. Stevens (Anthony Hopkins), head butler to Lord Darlington (James Fox) - or, at least, he thinks it is. He refuses to show any emotion no matter what happens, even when his own father dies. But things start to happen that make him realize his world can't stay perfect forever. First, the sensible, outspoken Miss Kenton (Emma Thompson) comes to take over the housekeeper position, and immediately sparks begin to fly between them. But are those sparks due to authority clashes - or secret love?

Then, Europe starts to line up for World War II, and Mr. Stevens watches as Lord Darlington begins bargaining with the Nazis. Things start to spiral out of control and Lord Darlington does some drastic things, like firing his Jewish servants and hosting secret dinners for Nazi leaders. Yet through it all, Mr. Stevens continues to blindly serve his master and show no emotion. Miss Kenton finds out that he does care about the things his master is doing - but how much? Will he ever open up and reveal his true feelings, for her or for what is right?

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High Points:
- Gripping, emotionally wrenching plot
- Powerful use of nonverbal language - virtually none of the real plot of the movie is communicated directly, but through subtle nonverbal cues
- Rare look at the stressful prewar days among politically influential British citizens
- Unusually deep and realistically developed characters
- Filmed on location, beautiful scenery and spectacular old mansions

Could Be Better:
- Definitely not an action flick - this movie is all about dialogue, emotions, social maneuvering, politics, and interpersonal relationships. My family has discovered that it doesn't have much to interest guys. :-)
- I wouldn't spoil this ending for the world, but be forewarned, you may or may not find it satisfying ...

Potential Concerns:
- Occasional bad language
- A couple of scenes with multiple kisses
- One scene in which Mr. Stevens is instructed to speak with a young man about marriage and childbearing; he can't bring himself to do it and nothing inappropriate is said, but it can feel a little uncomfortable. It is not at all essential to the plot other than showing the conflict between Mr. Stevens' sense of duty and his emotional reserve.
- Most of the movie is a flashback, and the frame of the plot is that Miss Kenton, many years later, is having marital problems and going back to her old love interest, Mr. Stevens. I obviously do not agree with this behavior. I can't say much without spoiling the ending, but she does choose to do what is right in the end.

Vicki's Vote: 5/5

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Review: The Remains of the Day is much different from most other movies I love. For one thing, it's relatively new, being made in 1997. For another, the acting and use of nonverbal language is far, far superior to almost any other movie I've seen.

The first time we watched The Remains of the Day, Heather and I were left in tears from the sheer power of the raw emotion depicted in this movie. But here is what makes it so great - yes, many films show raw, powerful emotions; but few show these emotions so repressed, so strangled in the grip of high society. Everything in you will want the characters to just stand up and scream all of those feelings they keep hidden - but I'll warn you, they don't. And that is the beauty of this film.

Mr. Stevens is the head butler, Lord Darlington's right-hand man. He comes from generations of butlers, and his pride in his vocation has grown almost to fanaticism. He allows nothing to interfere with his work - not his family, not circumstances, and especially not himself. He rules his emotions and his underservants with an iron hand that is as firm and unyielding as it is gentle and polite. He does not ever change, and life ticks along smoothly in Darlington Hall, as it has for generations.

But this is the 1930's, and change quickly becomes inevitable. He doesn't know what he is getting into when he hires Miss Kenton to be the new housekeeper. She is sensible, capable, and she always speaks her mind - a complete enigma to the controlled Mr. Stevens. She challenges his authority, she tries to get him to change his mind, and she seeks his support when obstacles arise for both of them. She is an energizing force in a place that has not changed for generations.

But what does Mr. Stevens think about her? We're never really told. Miss Kenton is more dramatic; it quickly becomes plain that she loves Mr. Stevens deeply, and with great pain, because she can't read his emotions. But the clues are there, and you will see them and feel them, even though he never speaks his true feelings for good or ill; but Miss Kenton is oblivious. And this oblivion is a source of rising conflict and tension between them, as feelings get stronger - and more repressed.

Mr. Stevens also faces change in the character of his beloved master, Lord Darlington. Because of an old promise he made during World War I, Lord Darlington feels an obligation to help the German people. He begins secretly rendezvousing with Nazi leaders and doing special favors for German friends. He takes two refugee girls into his home and gives them work - then fires them when he finds out they're Jews. Mr. Stevens watches; but what does he think? How does he feel? If you get to know him well enough, you'll see feelings that will be surprising to you - and to him as well.

This is also a somewhat different movie from what I normally review, in that it is definitely more for adults. The subtle nonverbal cues and gut-wrenching emotional turmoil will probably be lost on younger viewers. As I mentioned in the "Possible Concerns" section, there is also some language, and normally I do not watch movies with marital infidelity in them.

However, because of the sheer superiority of the writing and acting in this movie, the unusual historical backdrop of prewar negotiations and tensions, and the fascinating themes of communication, loyalty, and regret, The Remains of the Day is one of my favorite films. I definitely recommend that you watch this movie.

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