Search - 14 Hours (Fox Film Noir) on DVD

Briskly paced and very intense; this is one you'd do well to

Andrew Ellington | I'm kind of everywhere | 03/03/2009

(4 out of 5 stars)

"`Fourteen Hours' is a far better film than one might think it to be. It reminds me a tad of `Phone Booth' in that it rarely leaves the small confines of a particular area, and it stars really only two people (sure there are other actors, but their roles are limited to a few select scenes); and like `Phone Booth', it is never boring.

The film tells of a man named Robert Cosick who causes an uproar on St. Patrick's Day when he decides to attempt suicide by jumping out of his hotel window. Before he can plummet though, he is spotted and a traffic cop makes his way to his room to try and coax him down. Robert is shaky and nervous and dangerously unnerved, but the cop, Charlie, is calming and gentle. When Robert makes it clear he'll talk to no one but Charlie, Charlie winds up spending the next fourteen hours trying desperately to find out why this man is trying to kill himself and how he can work to prevent it.

I won't lie to you; this is a film that does feel a little dated. The way in which the try and rescue Robert is a little out of date; but when you look at the film in the whole context of `this was made in the 50's' then you can easily look past that dated material.

In fact; the script is the films brightest moment.

The acting is spotty here though. The two leads are at total opposite spectrums here. It reminds me of `Strangers on a Train' in the fact that one lead is flawlessly captivating and the other is just off; totally. Paul Douglas nails his portrayal of Police Officer Charlie Dunnigan. He has this natural charm and grace that makes his character easy to listen to and easy to love. It's no wonder that Robert only wants to deal with Charlie. He exudes this genuineness that draws you to him. Richard Basehart on the other hand is so mechanical he's off putting. All his ticks and shakes and heavy handed depression just seems so fake to the viewer. I only wish he had the same natural progression of character that Douglas had.

The supporting cast is hit or miss as well. Barbara Bel Geddes and Agnes Moorehead have two very different characters and they both handle them rather well. Moorehead especially is effective as Robert's attention hungry mother. I thought that Robert Keith was slightly bland as Robert's `never there' father Paul, but he isn't really given that much to work with.

The nice thing about the script is that it touches upon how one outlandish act can bring a lot of people together and change their outlook on life in general. On the ground, as the crowd watching the spectacle grows, we are given a glimpse at love blossoming amidst the nervous curiosity; and we even see a marriage on the rocks given new life as the party ponders the blessing that life really is. It's subtle and it could have been developed a little better (and deeper) but it's a nice touch that adds an extra layer to the film. I also like the fact that, while Robert's life is explored and explained, his intentions for killing himself are never truly revealed. The ambiguity adds a sharp realization that sometimes it's something very small and seemingly insignificant that can make us feel like we cannot go on.

It can affect anyone at just about anytime.

The film is very well done and nicely crafted. If only both leads were as dynamically effective as Douglas this could have been a near perfect movie. Still, it is very enjoyable, tense and memorable. It's one of those movies you've probably never heard of but should seek out.

I think they call these `hidden gems'."