http://www.imdb.com/title/tt0049656/
A stronger Glenn Ford film with the All American wife, Donna Reed, battling with him. These two battle with sharp dialog and pointed logic, well-written and well-delivered, in contrast to my more recent disappointment in TERROR ON A TRAIN's husband-wife arguments.
Does anyone know if this is the first film with this angle - that is, that the father decides to not pay the ransom, but puts a bounty on the kidnappers' heads?
IMDB points out that this is Leslie Nielsen's first film.
Bobby Clark, the son, had 8 previous credits to his career, and followed up this good RANSOM performance with the original INVASION OF THE BODY SNATCHERS. He spent a good amount of time doing stunt work as he got older.
Ransom (1956)
Hi Ollie:
Actually, I think this was the first, and only, movie of its kind until Mel Gibson remade it a few years ago. But where Glenn Ford was a strong, silent, type, Mel made him more verbal and a bit more manic.
Anne
Actually, I think this was the first, and only, movie of its kind until Mel Gibson remade it a few years ago. But where Glenn Ford was a strong, silent, type, Mel made him more verbal and a bit more manic.
Anne
Anne
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Yes, I can't find a similar tale in earlier films. I thought Glenn is incredibly expressive. Kissin' and huggin' on the couch with wife Donna Reed, saying, "Now I know why the Unemployed have so many kids", and then his staircase tirade.
I pulled out the Mel Gibson version and enjoyed it, too. Both films stand up very well. The Glenn Ford version is claustrophic, everything's stuck in the house outside of a backyard scene or a boardroom scene. But tight and confined. And outside of Leslie Nielsen's speech about what the criminals are going thru.
In the 1999 one, we get see them in those desperate straits. This is a more Paul-Harvey-esque tale - "Now you know the rest of the story..."
I pulled out the Mel Gibson version and enjoyed it, too. Both films stand up very well. The Glenn Ford version is claustrophic, everything's stuck in the house outside of a backyard scene or a boardroom scene. But tight and confined. And outside of Leslie Nielsen's speech about what the criminals are going thru.
In the 1999 one, we get see them in those desperate straits. This is a more Paul-Harvey-esque tale - "Now you know the rest of the story..."