Classic Movie Review: Experiment in Terror (1962)

Experiment in Terror (1962)

Directed by: Blake Edwards.

Written by: The Gordons based on their novel.

Starring: Glenn Ford (John 'Rip' Ripley), Lee Remick (Kelly Sherwood), Ross Martin (Garland Humphrey 'Red' Lynch), Stefanie Powers (Toby Sherwood), Roy Poole (Brad), Ned Glass (Popcorn), Anita Loo (Lisa Soong), Patricia Huston (Nancy Ashton), Gilbert Green (Special Agent), Clifton James (Capt. Moreno), Al Avalon (Man Who Picks Up Kelly), William Bryant (Chuck).

 

We tend to think of Blake Edwards in terms of his comedies – as the man behind the original Peter Sellers starring Pink Panther movies or The Party, or his iconic Audrey Hepburn vehicle Breakfast at Tiffanies. But Edwards’ career was far more varied then we often give him credit for – in 1962 alone, the year after Tiffanies, he directed the sobering alcoholic drama Days of Wine and Roses – which landed its two stars, Jack Lemmon and Lee Remick, richly deserved Oscar nominations for their lead performances, and right before that this nifty little crime thriller – Experiment in Terror, starring Remick as a woman at the mercy of an asthmatic psychopath. Experiment in Terror may be a little long for this type of film – it runs just over two hours (making it the longest film in the Columbia Noir Collection on Criterion Channel by at least 30 minutes) – and yet Edwards never lets the tension flag throughout. Every scene takes a little bit longer than you expect it will – and while doing that risks the tension lagging, here it only makes things more suspenseful. Edwards takes his time – and his film is better for it.

 

Edwards starts his films at a run – basically diving right into the plot, as bank teller Kelly Sherwood (Remick) is attacked from behind by a man who holds her and tells her that she is to steal $100,000 for her bank, or else the man will hurt her high school sister Toby (Stefanie Powers). Right from this scene, Edwards’ decision to let scenes play out during extended period of time is evident here – this scene takes far longer than you would expect – mostly in a single long take fixated on Remick’s terrified face as she is held against her will. All we – and she – knows about the man is that he has asthma as he breathes heavily. It also becomes apparent – right after this scene – that Kelly will be watched constantly. Still, she finds an ingenious way to get in contact with the FBI – and Agent Ripley (Glenn Ford) is on the case. The problem is they don’t know who the would be criminal is – or even what he looks like. What follows is an extended game of cat and mouse – as victim and FBI agent try and draw out the criminal into the open.

 

There are brilliant set pieces throughout the film – an extended sequence with Kelly at a nightclub, where she is supposed to meet the criminal, but ends up in the car of another man in what we know, but they don’t, is a case of mistaken identity. And the climax – and extended sequence at Candlestick park during a baseball is brilliantly staged.

 

Experiment in Terror is essentially all plot – and it zips along at a brisk pace throughout. This is a movie that reflects a somewhat modern look at women – Remick doesn’t have a boyfriend/husband at the beginning, and is never given a love interest throughout. In the old days, Glenn Ford’s Ripley would have become a love interest, but he’s all business here. She is somewhat smarter than many women in these films – she is a victim, but a smart and resourceful one, not a shrinking violet waiting to be saved. Remick is great in the role – it’s one of her best performances, in a too short career (she died at 55) – but one that saw in her great roles in this, Anatomy of a Murder, Days of Wine and Roses and A Face in the Crowed among others. Ford was an old pro at playing cops by this point – and he’s not on autopilot here, but he is ruthlessly efficient. The real standout is Ross Martin, who is scarily effective, as the wheezing psychopath.

 

Experiment in Terror shows the range of what Edwards could do – he shows he’s a better director of thrillers here than most who made a career of it. If this is a departure for him, it’s also a departure for his frequent collaborator Henry Mancini – who contributes a great, intense score as well. In short, Experiment in Terror should change who we see Edwards – at least a little – as he was a much more versatile director than people remember.