‘Experiment in Terror’ 1962

Lee Remick is terrorized and toyed with in 1962's "Experiment in Terror."

In the wake of 1960’s Psycho, a number of modern thrillers were now distinctly on the dark side. One of the most stylish and disturbing Hitchcock prototypes was 1962’s Experiment in Terror, Blake Edwards’ rare film foray into suspense.

The premise of Experiment in Terror is simple: psycho villain Garland “Red” Lynch coerces teller Kelly Sherwood to steal a bundle from her bank employer. If not, Lynch threatens to kill Kelly and her teen sister. It all sounds simple, but there are some sick twists along the way. The film’s story was written by husband and wife team, The Gordons. Another talent that gets interesting billing is Ross Martin, as the villain, who only gets his name at the end credits.

Ross Martin's villain  'Red' is slowly revealed as "Experiment in Terror" progresses.

This was Blake Edwards and Lee Remick’s first collaboration, just before their classic, The Days of Wine and Roses. After grueling roles as the targeted heroine in Experiment in Terror and alcoholic wife in The Days of Wine and Roses, Edwards should’ve invited Remick to star in one of his many comedies!

Ross Martin's maniac ain't playin' as he catches Lee Remick's Kelly calling the FBI.

Like Hitchcock’s suspense films, Experiment in Terror is leisurely paced, by today’s attention span-challenged standards. Edwards’ films are often long, but the night driving opening scene in San Fran, with Henry Mancini’s languid score, sets the eerie mood. At just over two hours, Experiment could’ve been closer to the standard 1 hour and 45 min. mark, yet keeps the viewer intrigued.

"Experiment in Terror" has an dreamy opening score by Henry Mancini.

Philip H. Lathrop’s cinematography is atmospheric, with deep shadows and strategic light for the evening scenes, in sharp contrast to the blinding daytime scenes in sunny CA. Experiment in Terror’s great camera angles and point of view are striking and contribute much of the suspense. Lathrop was a frequent Blake Edwards collaborator and also photographed another mid-century suspense classic, Orson Welles’ Touch of Evil.

"Witness for the Prosecution" lighting? Lee Remick as Kelly, "Experiment in Terror."

One thing I admire about Blake Edwards’ work is that his approach to dramatic material was adult and forward-thinking, especially for the era. For instance, though the targeted heroine and the FBI agent become close while trying to capture the villain, they don’t fall in love. Also admirable is that the heroine Kelly Sherwood is not a cowering victim, though rightfully terrified of the creepy bad guy. Kelly is a bright, independent, stand-up person who’s not afraid to hold her own against the domineering villain. This is emphasized with Lee Remick’s performance. Remick had that gentle side, with those huge, child-like baby blues that made her perfect for projecting fear, in such movies as this, The Running Man, No Way to Treat a Lady, and The Omen. She also originated and won a Tony for the Broadway version of Wait Until Dark. Remick’s sass, warmth, strength, and intelligence are put to good effect in this thriller.

Lee Remick as Kelly, would-be bank robber, brings to mind Hitchcock's "Marnie."

During the scenes where Kelly goes along with the bank heist at the villain’s behest, I kept thinking what a marvelous Marnie Lee Remick would have made, instead of non-actress Tippi Hedren. Lee was also six years younger than Tippi, and more age appropriate to emotionally stunted Marnie. I’ve wondered why Hitch didn’t use Lee in the first half of the ‘60s, when he was often looking for his next Hitchcock blonde.

Lee Remick's heroine hides in the bathroom, just like Tippi Hedren's "Marnie."

Glenn Ford, not one of my favorite actors, is low-key but straightforward as FBI agent John Ripley. One thing I like about Ford is that he was comfortable enough not to act the macho showboat, like Kirk Douglas or Burt Lancaster, or the younger anti-heroes of the ‘60s. Ford comes across like an intelligent, decent guy and his character doesn’t have all the answers.

Glenn Ford is solid as the FBI man, but what's up with his greasy comb-forward?!

Ross Martin as psychotic villain Garland “Red” Lynch is terrifying and terrific. His character’s penchant for disguise is a precursor to Martin’s later role as Artemis Gordon on The Wild, Wild West. I, along with others on the Internet, have found that his disguise in the finale must have inspired the Unabomber! Martin is utterly creepy, pathetic, sadistically funny, and compelling. Any other year, Ross Martin would have been a best supporting actor nominee shoo-in. But 1962 was a strong performance movie year, and Victor Buono got the suspense movie nod, as Edward in Whatever Happened to Baby Jane? Given the Buono played the same type for his entire career, Ross’ virtuoso turn as ‘Red’ was more deserving, in retrospect. Martin was an early Blake Edwards favorite during his previous TV tenure, who gave Ross his first substantial film role as the asthmatic killer in Experiment in Terror. Soon after, Edwards cast him another scene-stealing role, in The Great Race.

Ross Martin, as 'Red' Lynch, lurks among the mannequins in "Experiment in Terror."

Anita Loo, as Susie Soong, is intriguing as the Asian girlfriend of Ross Martin’s “Red.” Her character is ambiguous as to how close they are and how much she knows about his other life. How adult of Edwards to show that the villain has a human side, in this case, helping the woman’s son with medical issues. Also realistic is Soong’s denial and defiant attitude about helping the Feds, only looking from her own personal point of view. Loo plays the enigmatic character in an understated way that is both empathetic and yet rather chilling.

Anita Loo is the killer's mystery woman, with Glenn Ford, in "Experiment in Terror."

Stefanie Powers is nearly unrecognizable as a baby-faced teen, as Toby Sherwood, Kelly’s kid sister. She is sincere and holds her own during some of the later terrifying scenes involving her. Ned Glass is a scene stealer as always, as “Popcorn,” the genial, movie-loving informant. Patricia Huston is Nancy Ashton, a target of the villain’s wrath. Her character is touchingly stoic, as she reaches out for help, but too late. Amusing that the villain’s last name is Lynch and that the heroine lived near Twin Peaks in San Francisco—no coffee loving cops, however. And I love the stars oh so ‘60s names of the sisters, Kelly and Toby Sherwood!

Stefanie Powers is nearly unrecognizable as the kid sister, in "Experiment in Terror."

Experiment in Terror used to be on TV a lot when I was a kid, but I hadn’t watched it as an adult, until just recently. Experiment is an early modern thriller that still chills.

Here’s the movie that made Lee Remick a star, my look at Anatomy of a Murder, filmed entirely in Upper MI, my home! https://ricksrealreel.blogspot.com/2016/08/anatomy-of-murder-film-fiction-draws.html

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Does Ross Martin's psycho in "Experiment in Terror" remind you of anyone?

Ginger Rogers Goes Big in ‘Tight Spot’ 1955

Ginger Rogers & Brian Keith star in the crime film noir sleeper, "Tight Spot."

 

Tight Spot is basically a “B+” movie that made a bit of money, thanks to its low production costs, and good word of mouth upon release. For Ginger Rogers, Tight Spot offered the versatile/veteran star a throwback to her brash, street smart roles of the early ‘30s. The gritty little noir was released in 1955, just as male lead Brian Keith was making his mark in movies.

Tight Spot was based on a stage play about a female prison inmate who is pressured to testify against her gangster ex-lover at an upcoming trial. The feds think it would be easier to soften the con up at a hotel under police protection, rather than the city’s jail. Nearly all the action takes place at the hotel, which adds to the hothouse atmosphere, but also feels a little stagey. Whatever, there’s hardly a wasted moment, what with Keith’s cop and Rogers’ con sparring, gangsters plotting, and the clock ticking until the big court date Monday morning.

Cop Brian Keith buys prisoner Ginger Rogers a pretty frock.
Fed attorney Edward G. Robinson doesn't seem impressed! The trio in "Tight Spot."

Ginger's chatty con recalls her start as a model at age 16—Rogers was 43 when Tight Spot was filmed. Hmm, that’s a lot of laps for a swimsuit model and gangster’s moll. Roger’s character is probably 30-ish, which makes Sherry’s sobbing to a prison matron, after the gangsters attack, a nod to her lost innocence. But with a middle-aged woman bawling like a motherless child, it seems absurd. Especially since Katherine N. Anderson, as matron Mrs. Willoughby, was a decade younger than Rogers. Eve McVeagh, eight years Rogers’ senior, plays the “big sister” Clara, who escaped their troubled family home via marriage. Their reunion scene has Sherry and Clara in a family dysfunction smack down, far before Jerry Springer. By the way, Anderson is still alive at 98!

Ginger Rogers as Sherry Conley, former model and gangster moll in "Tight Spot."

As Sherry Conley, Ginger Rogers gives her all and then some, much like the latter day Joan Crawford during this time frame. Gloria Grahame or Jan Sterling could have played Sherry in their sleep, but like Joan, Ginger was hired for her residual marquee value. Leonard Maltin aptly likened Rogers’ brassy banter to Judy Holliday in Born Yesterday. Whether you’re entranced or enervated by such diva dramatics, no one could accuse Rogers of walking gingerly through Tight Spot. And like Crawford, Ginger's cropped hairdo provided a stark comparison to the over-made up face of 40-something Rogers. It works for the character (which I don't think was the intention) but couldn’t have served Ginger well with '50s audiences. And that dress that Keith's cop picks out for Rogers’ Sherry—polka dots, Peter Pan collar, and a bow—perfect, for a child! There’s also an incongruous mix between Ginger’s glamour mask—including long, painted nails—after just getting sprung from prison at the last minute, while her frumpy frock is still wet from laundry duty. Speaking of Crawford, Lucy Marlow, who got roughed up by Joan’s Queen Bee the same year, plays “Prison Girl” in Tight Spot, who gets the inside scoop from Ginger’s inmate. Small world!

Ginger Rogers works up a sweat as a prison inmate in "Tight Spot." 

Brian Keith, as cop Vince Striker, is well on his way with his patented laconic, rumpled persona. Keith is restrained and of the modern school of acting and this makes an interesting contrast with Rogers’ old-school performance.

Brian Keith as cop Vince Striker in "Tight Spot."

Edward G. Robinson is solid as always, with a more restrained character and performance, as the federal attorney. Lorne Greene is in his suave oily period as gangster Benjamin Costain, before he became saintly Ben Cartwright on Bonanza. Look for Kathryn Grant, the future Mrs. Bing Crosby, as the bride whose honeymoon is interrupted by gangsters running roughshod at the hotel.

Ginger Rogers' inmate resists Edward G. Robinson's attorney to testify in 'Tight Spot.'

Interestingly, director Phil Karlson and screenwriter William Bowers both excelled at the film noir and western genre. Though Karlson was known as strong, economic director, he never graduated to “A” films, like so many name directors who honed their talent in “B’s.” However, he worked with some diverse stars: Abbott and Costello; early Marilyn Monroe; Elvis in Kid Galahad; and Dean Martin in two Matt Helm films. His last film, Walking Tall, was a huge hit, which benefited him financially. And Bowers had a long career writing mostly westerns for TV and film, though he had a few solid noirs under his belt.

Ginger Rogers' prisoner cries her eyes out after a gangster attack in "Tight Spot."

As for Tight Spot’s story, better to focus on the taut tale of the prisoner who’s targeted before she can testify, rather than the hokey attraction between the cop and the con. I take the conventional romance with a grain of old time movie salt, since this was the '50s, filtered through Hollywood’s lens. But the pair falling for each other within a span of a weekend is a bit dicey, even back then. There’s also a nifty twist and a realistic ending. Tight Spot would make a great double feature with Storm Warning, for Ginger’s down and dirty noir outings.

Here’s my look at Ginger, in one of her best dramatic performances, with Doris Day and Ronald Reagan, standing up to the KKK, in Storm Warning: https://ricksrealreel.blogspot.com/2019/05/ginger-reagan-doris-day-vs-kkk-in-storm.html

FYI: I put all the movie overflow on my public FB  movie page. 

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Washed up? No way! Ginger Rogers drives this star vehicle home!

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