Three Hours to Kill
あらすじ
No synopsis available.
作品考察・見どころ
AIが作品の魅力を深く読み解いています
スタッフ・制作会社
監督: Alfred L. Werker
脚本: Alex Gottlieb / Richard Alan Simmons / Roy Huggins
音楽: Paul Sawtell
制作: Harry Joe Brown
撮影監督: Charles Lawton Jr.
制作会社: Columbia Pictures
No synopsis available.
AIが作品の魅力を深く読み解いています
監督: Alfred L. Werker
脚本: Alex Gottlieb / Richard Alan Simmons / Roy Huggins
音楽: Paul Sawtell
制作: Harry Joe Brown
撮影監督: Charles Lawton Jr.
制作会社: Columbia Pictures
The Man With The Rope Scar On His Neck! Three Hours to Kill is directed by Alfred Werker and written by Richard Alan Simmons, Roy Huggins and Maxwell Shane. It stars Dana Andrews, Donna Reed, Stephen Elliott, Richard Coogan and Dianne Foster. Music is by Paul Sawtell and cinematography by Charles Lawton Jr. As solid as a boulder in Death Valley, Three Hours to Kill is a most satisfying Oater for genre fans not expecting boundary pushing. Plot has Andrews as Jim Guthrie, who is wrongly accused by the town folk of murder and promptly condemned to death by lynch mob. Escaping the rope by the skin of his neck, Guthrie bides his time for three years before heading back to the town to clear his name and nail the real murderer. His friend, the Sheriff, gives him three hours to complete his task before the law intervenes. What unfolds is a whodunit led by Andrews as he interrogates and puts the squeeze on a number of the town's denizens. There's a deliberately downbeat tone that serves the story well, with lost loves, unfulfilled lives and haunted memories of past doings permeating the narrative. The psychological undertones and risque aspects of the story are tantalisingly -frustratingly so - left to just simmer, but mood befits question marks in the plotting to keep one engaged. Action scenes are in the main no more than competently handled, but a couple are quite striking to raise the pulses. When the pic moves out of the confines of the town, the locales (Lake Sherwood, Sherwood Forest, Hidden Valley in Calif) are most striking and leave you hankering for a more airy picture as a whole. Cast are fine, Andrews toughs up for good perf, but as lovely as Reed and Foster are (in fact Foster is socko gorgeous), they are undone by standard writing and Reed comes off as looking bored. The ending carries a nice surprise, two fold in fact, to close the deal on what is an above average Oater to be enjoyed as easy sampling by genre fans. 6.5/10
