The Killer Is Loose | |
---|---|
Directed by | Budd Boetticher |
Screenplay by | Harold Medford |
Based on | The Killer Is Loose by
|
Produced by | Robert L. Jacks |
Starring | Joseph Cotten Rhonda Fleming Wendell Corey |
Cinematography | Lucien Ballard |
Edited by | George A. Gittens |
Music by | Lionel Newman |
Production company | Crown Productions |
Distributed by | United Artists |
Release date |
|
Running time | 73 minutes |
Country | United States |
Language | English |
The Killer Is Loose is a 1956 American crime film directed by Budd Boetticher and starring Joseph Cotten, Rhonda Fleming and Wendell Corey. [1] An independent production, it was released by United Artists. It is based on a 1953 novelette published in The Saturday Evening Post , written by John and Ward Hawkins.
A savings and loan company is robbed by men displaying abnormal familiarity with the building. Police inquiries led by Lt. Sam Wagner discern that soft-spoken bank employee Leon Poole is complicit in the crime. Poole starts a gunfight when the police appear at his apartment, but surrenders after Sam accidentally shoots and kills Poole's wife (whom the police officers are told by the neighbours is not in the apartment, and whose presence Poole does not announce). She was, in Poole's words, the only person who respected him and made his life worth living. The teller is sentenced to a decade in prison for his part in the robbery, promising that someday he will have revenge on Wagner.
Two years later, Sam has switched to a desk job at the behest of his wife Lila, who has feared his being killed on duty ever since she heard Poole threaten him. Poole, meanwhile, has been transferred to the prison's honor farm for good behavior. But his mild demeanor was a deception; at the first opportunity he kills a guard and escapes. By the time the authorities discover his absence, Poole has also murdered a farmer, stolen this victim's truck and clothing, and driven towards the city where the Wagners live. He successfully passes through roadblocks and police patrols, having realized that nobody recognizes him when he takes off his distinctive glasses, needed for his extreme short-sightedness. Sam is asked to resume active duty and help with the case. Lila worries about him, but he tries to minimize the danger.
Interviews with Poole's former cellmates make it clear that he is still obsessed with revenge, and that he plans to make Sam suffer by killing Lila. Sam sends Lila into hiding, but to prevent her worrying, does not explain why; she assumes he is selflessly using himself as bait to bring Poole into the open, and worries more about him.
Needing food and rest, Poole breaks into the home of his former army sergeant, Otto Flanders. While claiming he doesn't wish to harm her, he terrorises Flanders' wife until her husband comes home. Accustomed to bullying Poole during their military years, Flanders tries to intimidate the convict into surrendering. Poole kills him in cold blood, then leaves with a raincoat stolen from Flanders' wife.
Exasperated after an interval in hiding, Lila accuses Sam of preferring his job to her, and threatens to leave him. Sam does not take the threat seriously and returns to his house, which has been made into a trap for Poole. A colleague's wife finally tells Lila about Poole's real intentions, adding that all policemen's families face emotional strain and Lila is not taking it as bravely as she should.
Ashamed, Lila leaves the hideout and goes home, wanting to reconcile with Sam whatever the risk. As she approaches her home, Poole begins following her, disguised in the stolen raincoat, with trousers rolled up to look from a distance like a woman. Keeping her wits, she leads him into the police ambush and he is shot down. Sam and Lila embrace as the police gather around Poole's corpse.
Budd Boetticher made the film with Lucien Ballard, who he called "the best cinematographer there ever was". They had made The Magnificent Matador (1955) and, Boetticher said, "when we got through with that, all the producers said, 'don't let these two guys make a picture together ever again; they're tough as Hell; they don't care about the money; they're going to break the studio.' I discovered that there was an eighteen-day picture called The Killer Is Loose at Warner Brothers, so Lucien and I went there and we made it in fifteen days. And that put that rumor to rest. Joseph Cotten was the star, a complete professional, always knew his lines." [2]
The Monthly Film Bulletin wrote: "Manufactured to formula, both in its main plot and the domestic side-issues, this thriller fails to crown its build-up with a sufficiently suspenseful climax. Somehow it all falls rather flat, though Wendell Corey's performance goes some way towards rescuing the film from banality." [3]
The New York Times film critic, Bosley Crowther, found nothing original about the film, calling the lead actors (Cotten and Corey) "first rate" and the crime film "third rate." [1]
Critic Bruce Eder gave a more favorable review and wrote, "Budd Boetticher was a filmmaker of consummate skill and many surprises, as anyone who's seen his best Western dramas can attest. The Killer Is Loose (1956) only enhances his reputation in a totally unrelated genre, and in a stylistic mode that's about as far as he could get from his most familiar work. Using a cast of conventional—albeit top-flight—Hollywood professionals, Boetticher takes them out of the studio and puts them into an almost totally location-shot drama, and turns them loose in that naturalistic setting. The result is an array of performances that are as arresting as the script is filled with improbabilities; indeed, the narrative momentum of Boetticher's direction, coupled with a handful of excellent performances, overcomes a script that is just a little too heavy on coincidences to otherwise play true." [4]
Critic Dennis Schwartz wrote, "A typical 1950s noir, distinguished by its rapid pace and taut script, that delves mainly into the character of the villain—making him out to be someone who went over-the-edge when he couldn't take being ridiculed as a failure, anymore ...The suburban atmosphere and the no-nonsense style of telling the story add to the blandness of the story and the failure to elicit anything out of the ordinary to the build-up of the suspense that comes with the climax. The result is a watchable film which could be seen for the sense of nostalgia of the 1950s it evokes, a time when it was more receptive for noir to work as well as it does." [5]
The Tall T is a 1957 American Western film directed by Budd Boetticher and starring Randolph Scott, Richard Boone, and Maureen O'Sullivan. Adapted by Burt Kennedy from the 1955 short story "The Captives" by Elmore Leonard, the film is about an independent former ranch foreman who is kidnapped along with an heiress, who is being held for ransom by three ruthless outlaws. In 2000, The Tall T was selected for the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."
The Killers is a 1946 American film noir starring Burt Lancaster, Ava Gardner, Edmond O'Brien, and Sam Levene. Based in part on the 1927 short story of the same name by Ernest Hemingway, it focuses on an insurance detective's investigation into the execution by two professional killers of a former boxer who was unresistant to his own murder. Directed by Robert Siodmak, it featured an uncredited John Huston and Richard Brooks co-writing the screenplay, which was credited to Anthony Veiller. As in many film noir, it is mostly told in flashback.
Lucien Ballard was an American cinematographer. He worked on more than 130 films during his 50-year career, collaborating multiple times with directors including Josef von Sternberg, John Brahm, Henry Hathaway, Budd Boetticher, Raoul Walsh, Sam Peckinpah and Tom Gries. He was nominated for an Academy Award for Best Cinematography for The Caretakers (1963).
The Rainmaker is a 1956 American western romance film directed by Joseph Anthony and adapted by N. Richard Nash from his 1954 play The Rainmaker. The film tells the story of a middle-aged woman, suffering from unrequited love for the local town sheriff; however, she falls for a con man who comes to town with the promise that he can make it rain. It stars Burt Lancaster, Katharine Hepburn, Wendell Corey, Lloyd Bridges and Earl Holliman. Holliman won a Golden Globe Award for his performance.
Oscar Boetticher Jr., known as Budd Boetticher, was an American film director. He is best remembered for a series of low-budget Westerns he made in the late 1950s starring Randolph Scott.
The Bird with the Crystal Plumage is a 1970 giallo film written and directed by Dario Argento, in his directorial debut. It stars Tony Musante as an American writer in Rome who witnesses a serial killer targeting young women, and tries to uncover the murderer's identity before he becomes their next victim. The cast also features Suzy Kendall, Enrico Maria Salerno, Eva Renzi, Umberto Raho and Mario Adorf.
Seven Men from Now is a 1956 American Western film directed by Budd Boetticher and starring Randolph Scott, Gail Russell and Lee Marvin. The film was written by Burt Kennedy and produced by John Wayne's Batjac Productions.
Ride Lonesome is a 1959 American CinemaScope Western film directed by Budd Boetticher and starring Randolph Scott, Karen Steele, Pernell Roberts, Lee Van Cleef, and James Coburn in his film debut. This Eastmancolor film is one of Boetticher's so-called "Ranown cycle" of westerns, made with Randolph Scott, executive producer Harry Joe Brown and screenwriter Burt Kennedy, beginning with Seven Men from Now.
Psycho is a 1959 horror novel by American writer Robert Bloch. The novel tells the story of Norman Bates, a caretaker at an isolated motel who struggles under his domineering mother and becomes embroiled in a series of murders. The novel is considered Bloch's most enduring work and one of the most influential horror novels of the 20th century.
Over-Exposed is a 1956 American film noir crime film directed by Lewis Seiler and starring Cleo Moore, Richard Crenna and Raymond Greenleaf. It was produced and distributed by Columbia Pictures.
Follow That Woman is a 1945 American comedy crime film directed by Lew Landers and starring William Gargan, Nancy Kelly and Regis Toomey. It was distributed by Paramount Pictures.
Blood of Ghastly Horror is a 1967 science fiction horror film directed by Al Adamson and starring John Carradine, Tommy Kirk, Kent Taylor, and Regina Carrol.
Rome Express is a 1932 British thriller film directed by Walter Forde and starring Esther Ralston and Conrad Veidt. Based on a story by Clifford Grey, with a screenplay by Sidney Gilliat, the film is a tale about a European express train to Rome carrying diverse characters, including thieves, adulterers, blackmail victims, and an American film star. The film won the American National Board of Review award for Best Foreign Film. Rome Express was remade as Sleeping Car to Trieste (1948).
Comanche Station is a 1960 American CinemaScope Western film directed by Budd Boetticher and starring Randolph Scott. The film was the last of Boetticher's late 1950s Ranown Cycle. It was filmed in the Eastern Sierra area of Central California near Lone Pine, California, not far from the foot of Mount Whitney. The towering granitic boulders known as the Alabama Hills served as the backdrop for the film's opening and closing scenes.
Decision at Sundown is a 1957 American Western film directed by Budd Boetticher and starring Randolph Scott. It is one of seven Boetticher/Scott western collaborations, including Seven Men from Now, The Tall T, Buchanan Rides Alone, Westbound, Ride Lonesome, and Comanche Station.
The Rack is a 1956 American war drama film, based on a television play written by Rod Serling. It was directed by Arnold Laven and stars Paul Newman, Wendell Corey, Anne Francis, Lee Marvin and Walter Pidgeon.
Assigned to Danger is a 1948 American crime film noir directed by Budd Boetticher and starring Gene Raymond, Noreen Nash and Robert Bice. The film's sets designed by the art director Edward L. Ilou. It was distributed by Eagle-Lion Films.
One Mysterious Night is a 1944 crime film, the seventh in a Columbia Pictures series of fourteen starring Chester Morris as reformed crook Boston Blackie. It was preceded by The Chance of a Lifetime and followed by Boston Blackie Booked on Suspicion. Blackie is called upon to recover a stolen diamond.
The Magnificent Matador is a 1955 American drama film directed by Budd Boetticher and written by Budd Boetticher and Charles Lang. The film stars Maureen O'Hara, Anthony Quinn, Manuel Rojas, Richard Denning, Thomas Gomez, Lola Albright, William Ching and an early appearance of Stuart Whitman. The film was released on May 24, 1955, by 20th Century Fox.
The Mortuary Collection is a 2019 American horror anthology film written and directed by Ryan Spindell. It stars Clancy Brown, Caitlin Custer, Christine Kilmer, Jacob Elordi, Barak Hardley, Sarah Hay, Mike C. Nelson, and V Nixie.