After a technicality results in the release of a man being tried for the rape and murder of a young woman, her father murders the man. Admitting his guilt and refusing to use temporary ... See full summary »
After a technicality results in the release of a man being tried for the rape and murder of a young woman, her father murders the man. Admitting his guilt and refusing to use temporary insanity, the father places his attorney in a virtual no-win situation. In an extreme effort, the attorney decides to call the judge who released the murderer originally and to challenge the entire legal system that would permit such a travesty. Written by
John Sacksteder <firstname.lastname@example.org>
Prior to filming, one late Friday afternoon, Robert Preston was ushered into Irwin Allen's office for a casual meeting and discussion. While Irwin was talking, Preston dozed off into a nap. Irwin stood at his desk, walked out of the office to check with his secretary and with his Art Director. Returning to his desk, he sat waiting, Preston awakened, and Irwin continued his conversation. Again, Preston dosed off asleep. About five minutes, Preston revived, and again the conversation resumed. After the meeting, Irwin Allen had his Production Manger take Preston over to the St. John's Hospital for a complete medical checkup. Irwin didn't want Robert Preston bailing out on him in the middle of the film shoot. See more »
The most stunning thing about "Outrage" is not so much the intriguing storyline, but rather the fact that it was produced by Irwin Allen, the "Master of Disaster" of '70s cinema, and also responsible for erstwhile sci-fi TV series of the '60s like "Voyage to the Bottom of the Sea" and "Lost In Space." His productions are usually criticized for their lack of attention to the finer details like the script and dramatic performances. But here, he surprises his critics (and fans) with a taut, and timely subject that is more "Law and Order" than "Poseidon Adventure." No action sequences, no explosions or people running around in rubber monster suits. Just good acting with a provocative plot line.
My only complaint is that Robert Preston's character seemed a bit 'dated' by 1986 in the way he lived through his religion....I mean, I didn't know many New York Irish Catholics in the '80s that were THAT religious (particularly a man). I assume the director wanted his Catholicism 'played to the hilt" to emphasis Preston was above reproach to further the courtroom dramatics.
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