James Mason, Rod Steiger, and Inger Stevens got the star credits for Cry Terror, but Neville Brand, Angie Dickinson, and Jack Klugman also deserve acting kudos in this tautly directed b-noir thriller which boasts not one but three climaxes.
An innocuous middle-class family: mum, dad, and young daughter from the suburbs are kidnapped as part of an airline extortion caper. A bomb has been planted on a passenger plane and the would-be terrorists are demanding a cool half million to disable the device. The bomb’s triggering circuit was innocently built by TV technician Dad, and Mum will be used to collect the ransom if she wants to keep hubby and the kid from harm. The scenario is sufficiently novel and the tension wound tightly enough to sustain interest throughout. Never mind the plot has holes big enough to fly a jet-liner through, and that some almost absurd daring-do in an elevator shaft staggers belief.
For a movie that runs 96 minutes there are surprisingly vivid characterizations of the major players. This comes from nuanced performances, some good dialog and, unusually for a 50s police procedural, only sketch portraits of the cops involved.
Mason is the duped father, a rather cardigan-like hand-wringer who finds unforeseen (and incredible) fortitude later on. Stevens is in melodrama-overdrive as the hysterical yet (again incredibly) when-it-counts cool under pressure mother. Steiger dominates as the patently wacko yet methodical mastermind. His menace is that more scary as you couldn’t tell him from a bespectacled bow-tie wearing 50s bean-counter. Dickinson does very well as Steiger’s girlfriend and but-is-she-really?-that-ruthless accomplice. Brand is particularly effective as the muscle of the gang with a convincing turn as a pill-popping sexual psychopath. When Stevens is held hostage by Brand in a suburban hide-out, a perverse sexual tension is played out with a lurid simmering violence that would have made 50s audiences very uncomfortable. The studio marketing suits played this angle up with promotion stills that exposed more of Stevens’ ample bosom than in the actual movie. Klugman is good as a pseudo-nasty but nervous henchman.
The three climaxes are more than competently filmed, edited and directed with a palpable tension by a journeymen crew, who deserve recognition: Andrew L. Stone, wrote and directed (Confidence Girl (1952), Highway 301 (1950)), Walter Strenge lensed, and Virginia L. Stone (Confidence Girl) edited. While the movie has the flat TV look of the period, the final dénouement in a subway station has an expressionist tone.
Definitely worth a look.