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Such an interesting film, and yet it is seldom mentioned by anybody.


It is forbiddingly dark - and then gets even darker.


Would it be an example of neo-noir?


Anthony Perkins is married to Sophia Loren and comes up with a wild scheme to make a lot of money.


He forces her to take part - but she is so sorry that she married him and cannot stand the man.


He doesn't really care - as long as she's a willing participant.


Crazily, she becomes involved with a friend of a friend, Gig Young.


She's looking for a way out!


Perkins becomes involved with a young boy, Thomas Nordern, who knows that he's alive when he's supposed to be dead.


Perkins is sick, sick, sick - Loren only exists to serve him - and his thoroughly crazy scheme.


Gradually, he pushes her to the breaking point - and she runs him over - not once, but twice!


Then, she throws him into a nearby river.


And then she stops off for a cup of coffee and faints!


In the end, having contact with the boy, Gig Young finally puts all the pieces together.


But it's too late!


Loren has clearly descended into madness.


The film has been put together with a great deal of style and a great sense of momentum by Anatole Litvak.


I do wish that he had made some more films like this one.


But I am grateful for "Five Miles To Midnight".





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It's a good film and one I've enjoyed watching. I think it is slightly overshadowed by their earlier collaboration (DESIRE UNDER THE ELMS).


There is a British film made shortly afterward that seems like a loose remake, starring Lee Remick and Laurence Harvey; and it's even better. It's called THE RUNNING MAN, from 1963.

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Is the Laurence Harvey version under the same title?


I just edited my previous post Terrence. It's called THE RUNNING MAN, and I included a link to the wiki page. Harvey dyed his hair blonde, so he looks different than we normally see him in his films.

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Maybe this film is too DARK for most tastes.


Sophia Loren can't stand Anthony Perkins.


And that antipathy colors the whole film.


When she runs him over - not once,but twice - the film is clearly over-the-edge.


And, if Gig Young could bring Sophia Loren back, it would be a miracle.


What I like about the film is that the little boy holds a secret that he is unaware of.


When he "spills the beans" to Gig Young - and Sophia Loren is already "gone" - Gig Young thinks that a psychiatritist might be the answer (?!).


The film couldn't end on a darker note.  

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