Another film to be avoided by those currently being traumatised by lockdown. Or simply traumatised by lousy movies.
Even those who consider themselves knowledgeable about the cinema are unaware that Robert Redford ever made a film with Alec Guinness, and when they've seen this leaden travesty of Robert Shaw's 1960 novel 'The Hiding Place' they'll know why. Saddled with a noisy music score by Harold Byrns, director Gottfried Reinhardt seldom gets the tone right, the occasional bursts of slapstick being among the unfunniest things in it.
Poor Shaw's original story could have made a great film; but he must have watched this mess between his fingers. Alec Guinness hated both Munich and the film, writing that he couldn't "act comedy any more" and dismissing himself in the film as "a sort of lifeless doll impersonating myself in 'Lavender Hill' or 'Fr Brown'".
Austria ironically would have been a more apt setting, as there have been a couple of cases in recent years of maniacs keeping prisoners in their cellars; although their victims tend to be young girls (as in the same year's 'The Collector') rather than grown men.
Even those who consider themselves knowledgeable about the cinema are unaware that Robert Redford ever made a film with Alec Guinness, and when they've seen this leaden travesty of Robert Shaw's 1960 novel 'The Hiding Place' they'll know why. Saddled with a noisy music score by Harold Byrns, director Gottfried Reinhardt seldom gets the tone right, the occasional bursts of slapstick being among the unfunniest things in it.
Poor Shaw's original story could have made a great film; but he must have watched this mess between his fingers. Alec Guinness hated both Munich and the film, writing that he couldn't "act comedy any more" and dismissing himself in the film as "a sort of lifeless doll impersonating myself in 'Lavender Hill' or 'Fr Brown'".
Austria ironically would have been a more apt setting, as there have been a couple of cases in recent years of maniacs keeping prisoners in their cellars; although their victims tend to be young girls (as in the same year's 'The Collector') rather than grown men.