Years after her aunt was murdered in her home, a young woman moves back into the house with her new husband. However, he has a secret which he will do anything to protect, even if that means driving his wife insane.
A grief-stricken mother takes on the LAPD to her own detriment when it stubbornly tries to pass off an obvious impostor as her missing child, while also refusing to give up hope that she will find him one day.
Major Ben Marco is an intelligence officer in the U.S. Army. He served valiantly as a captain in the Korean war and his Sergeant, Raymond Shaw, even won the Medal of Honor. Marco has a major problem however: he has a recurring nightmare, one where two members of his squad are killed by Shaw. He's put on indefinite sick leave and visits Shaw in New York. Shaw for his part has established himself well, despite the misgivings of his domineering mother, Mrs. Eleanor Shaw Iselin. She is a red-baiter, accusing anyone who disagrees with her right-wing reactionary views of being a Communist. Raymond hates her, not only for how she's treated him but equally because of his step-father, the ineffectual U.S. Senator John Iselin, who is intent on seeking higher office. When Marco learns that others in his Korean War unit have nightmares similar to his own, he realizes that something happened to all of them in Korea and that Raymond Shaw is the focal point. Written by
Contrary to popular belief, the film was not pulled from circulation following the 1963 assassination of President John F. Kennedy. It made its American television debut on The CBS Thursday Night Movies in September 1965 (source: Broadcasting magazine), and was repeated on that network later that season. Only when the rights reverted to Frank Sinatra in 1972 did the film disappear from view, although even then turning up for third and fourth network showings on NBC in spring 1974 (source: TV Guide) and summer 1975 (source: Variety). Sinatra's neglect in keeping the film in distribution gave rise to the legend that it was suppressed because of its alleged role in Lee Harvey Oswald's assassination of the 35th president. The legend was further perpetuated when Sinatra, in alliance with MGM/UA, re-released the film to theaters in 1988. When the rumor was debunked in an article in Films in Review, another myth, one claiming that Sinatra and UA had a dispute about the profits, took its place. The myth survives to this day, but it is pure fiction. See more »
The marquee over Madison Square Garden shows that the hockey and basketball seasons have begun. These did not take place until October, far too late for any party's convention. See more »
Dr. Yen Lo:
Attractive plant you have here.
Thank you, doctor. It's actually a rest home for wealthy alcoholics. We were able to purchase it three years ago. Except for this floor and the floor above it, which is sealed off for security purposes, the rest functions quite normally. In fact it's one of the few Soviet operations in America that actually showed a profit at the end of the last fiscal year.
Dr. Yen Lo:
Profit? Fiscal year? Tsk! Tsk! Tsk! Beware, my dear Zilkov. The virus of capitalism is highly infectious. ...
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A political and social thriller/drama ahead of its time.
John Frankenheimer's surrealistic direction and George Axelrod's adaptation of the 1959 book by the same name offer Laurence Harvey a career defining role.
Set in 1950's, A Korean War veteran Raymond Shaw(Harvey) returns home to a medal of honor for rescuing his POW platoon from behind Chinese lines and back to safety. One of the returning soldiers, (played effectively by Frank Sinatra) however, has recurring dreams of his platoon being brainwashed and Shaw committing acts of murder.
He eventually convinces army brass that Shaw is still a puppet of his Communist-Marxist operators.
Angela Lansbury, (although barely a few years older than Harvey was at the time) plays his mother in a tour de force role. She absolutely captivates and steals every scene she is in, playing a very complex role that needs to convince the viewer of many things without much dialogue.
There's a rich cast of characters, including Janet Leigh, Henry Silva, James Edwards, and a painfully accurate James Gregory. Each character weaves through the methodical subplots and tapestry of Frankenheimer's masterful "Hitchcockian" pace.
I won't give away the plot, but dear readers, allow me to sat that this one is really worth watching--until the nail-biting and chilling conclusion.
There are many undertones in this film -- political, sexual, class and power, and social. You will want to view this film several times to approach it from different perspectives.
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