London, 1949. John Christie is an unassuming, middle aged man who, along with his wife Ethel, manages the apartment building at 10 Rillington Place. His unassuming demeanor masks the fact ... See full summary »
In 1924 Chicago, Artie Strauss and Judd Steiner are friends and fellow law students who both come from wealthy backgrounds. They have few true friends as they believe all their contemporaries are intellectually inferior. Within their relationship, Artie is the dominant and Judd the submissive who says he will do whatever Artie tells him. Although Judd acts intellectually arrogant to others, he also shows signs of weakness and reticence most evident to Artie. Part of their goal in life is to experience how it feels to do everything. As such, they plot to commit what they consider the perfect crime - a kidnapping and murder - not only so that they can experience the sense of killing for killing's sake, but also taunt the law with the knowledge of it and their superiority after the fact. They believe their crime is above the law. Their murder of young Paulie Kessler is not so perfect, with evidence at the scene uncovered by one of their law school colleagues, Sid Brooks, who also works ... Written by
The original play included what was then a modern-day sequence. This was omitted from the film. It showed several of the characters thirty years after the story took place. See more »
When D.A. Horn is interviewing Straus, Horn sits down in a chair that was meant for Staus and moves a floor lampshade back down that had been directing its light at that chair. Staus moves to stand beside the floor lamp. The light is then variably on and off as shots between the two change. See more »
Watching this 1959 Richard Fleischer confirmed something I've always known. Dean Stockwell is a superb actor and an extraordinary presence on the screen. So, I think it's strange that he's not regarded as one of the greatest actors that ever lived. He started as a kid. He was Gregory Peck's son, twice. He was in musicals with Gene Kelly and Frank Sinatra. He was directed by Elia Kazan. He made allegorical movies like "The Boy With Green Hair" directed by black listed Joseph Losey. He was Edmond in "Long Day's Journey Into Night" sharing the screen with Katharine Hepburn, Ralph Richardson and Jason Robards. No to mention his work in "Sons and Lovers" or the movies with Wim Wenders and David Lynch. Here, in "Compulsion" his performance is worthy of an Oscar and in fact he go the accolades at the Cannes Film Festival sharing the acting honors with Orson Welles and Bradford Dillman. But, looking at it now he is the one that comes out as the one who passed in triumph the test of time. His performance is so rich so perfectly modulated that you go straight into the human center of his sick, appalling character. "Compulsion" deserves to be rediscovered and Dean Stockwell's performance should be the main reason.
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