6.6/10
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18 user 5 critic

The Sleeping Tiger (1954)

Approved | | Drama, Film-Noir, Thriller | 5 October 1954 (USA)
A psychotherapist attempts to rehabilitate a convict in his home after he breaks in. The criminal cooperates rather than being handed over to the police. The therapist's wife becomes ... See full summary »

Director:

(as Victor Hanbury)

Writers:

(novel), (screenplay) | 1 more credit »
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Cast

Complete credited cast:
...
Frank Clemmons
...
Glenda Esmond
...
Dr. Clive Esmond
...
The Inspector
Patricia McCarron ...
Sally Foster
Maxine Audley ...
Carol
Glyn Houston ...
Bailey
Harry Towb ...
Harry, second criminal
Russell Waters ...
Manager of Pearce & Mann
...
Receptionist at Pearce & Mann
Fred Griffiths ...
Taxi Driver
Esma Cannon ...
Scrubwoman with ladder
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Storyline

A psychotherapist attempts to rehabilitate a convict in his home after he breaks in. The criminal cooperates rather than being handed over to the police. The therapist's wife becomes infatuated with the man in the hopes he will take her away. Written by Anonymous

Plot Summary | Add Synopsis

Plot Keywords:

police | servant | manor | rich | adultery | See All (24) »

Taglines:

A saint turned sinner ! See more »


Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

5 October 1954 (USA)  »

Also Known As:

La bête s'éveille  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

In the opening scene, the newspaper placard for The People reads: "Fulham Football Coupon Swindle". See more »

Quotes

Dr. Clive Esmond: What do you think of him, Glenda? Is he worth saving?
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User Reviews

 
In the main, lousy Losey
16 October 2000 | by See all my reviews

Joseph Losey, working under a pseudonym after his blacklisting, didn't want to make this overbaked British melodrama. And who can blame him, given the heavy-breathing histrionics of the screenplay, a ridiculous concoction about a psychiatrist and his sexually frustrated wife harboring a hoodlum. The plot turns are unconvincing, the music hilariously overblown, and Alexander Knox, as the shrink, terminally uninteresting.

What makes this mess watchable is its game imitation of American noir tropes (dark alleys, femmes fatales, car chases), and some good very early rock-and-roll/jazz in the pub sequences. Also, the film can be viewed as a warmup for the later Losey-Bogarde collaborations, which explored similar themes (guilt, moral ambiguity, the nature of evil) much more expertly.


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