7.2/10
1,543
31 user 17 critic

Fourteen Hours (1951)

Approved | | Drama, Film-Noir, Thriller | April 1951 (USA)
An unhappy man threatens suicide by standing on the ledge of a high-rise building for 14 hours.

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Writers:

(screenplay), (story)
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Nominated for 1 Oscar. Another 2 wins & 3 nominations. See more awards »

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Cast

Complete credited cast:
...
Police Ofcr. Charlie Dunnigan
...
Robert Cosick
...
Virginia Foster
...
Ruth
...
Christine Hill Cosick
...
Paul E. Cosick
...
Deputy Police Chief Moskar (as Howard da Silva)
...
Danny Klempner
...
Dr. Strauss
...
Mrs. Louise Ann Fuller
...
Room Service Waiter
...
Police Sgt. Farley
James Millican ...
Police Sgt. Boyle
Donald Randolph ...
Dr. Benson
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Storyline

A young man, morally destroyed by his parents not loving him and by the fear of being not capable to make his girlfriend happy, rises on the ledge of a building with the intention of committing suicide. A policeman makes every effort to argue him out of that. Written by Tiziana Totaro <susannkey@hotmail.com>

Plot Summary | Add Synopsis

Taglines:

A new element in screen suspense See more »


Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

April 1951 (USA)  »

Also Known As:

14 Hours  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Robert Wagner was originally set for the role of Danny, but was replaced by Jeffrey Hunter in his film debut. See more »

Goofs

The police are directed to take their equipment to the thirteenth floor. Most buildings, and all hotels, do not have a thirteenth floor. The numbering goes from twelve to fourteen. See more »

Quotes

Robert Cosick: You should have ten good reasons for anything. That's a rule!
See more »

Connections

Referenced in At the Movies: Episode #9.1 (2012) See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Despite flaws, a fine little gem
24 February 2005 | by (United States) – See all my reviews

Although this film traffics in some of the worst movie clichés (the good-hearted, potato-nosed Irish-American cop; the conventional--and tacked-on--Happy Ending(tm)), it manages to rise above them, thanks to fine acting, a gripping story, and excellent production values. (You feel teleported to the Manhattan of 1951.) The chemistry between Paul Douglas (as Officer Dunnegan) and an incredibly young Richard Basehart (as the suicidal young man) really drives the film. Basehart plays his part with a combination of brittleness and patrician airs that make his character believable. Douglas thankfully doesn't overplay his role; he has to be father-confessor to the young man while attempting to steer him away from thoughts of self-destruction. Some years after seeing this film, I read the non-fiction article that it is based on in an anthology (the article was originally published in The New Yorker as "The Man on the Ledge"). Let us just say that the ending of the article and the film diverge somewhat.


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