Fourteen Hours (1951)

Director:

Henry Hathaway

Writers:

John Paxton (screenplay)
Joel Sayre (story)

Release Date:

April 1951 (USA)

Genre:

Film-Noir | Thriller | Drama

Tagline:

A new element in screen suspense

Plot:

An unhappy man threatens suicide by standing on the ledge of a high-rise building for 14 hours.

Plot Keywords:

Ledge | Police | Rescue | Psychiatrist | Floodlight

Awards:

Nominated for Oscar. Another 1 win & 3 nominations

US TV Schedule:

Tue. Dec. 1

11:00 AM

TCM

Cast

Paul Douglas	...	Police Ofcr. Charlie Dunnigan
Richard Basehart	...	Robert Cosick
Barbara Bel Geddes	...	Virginia Foster
Debra Paget	...	Ruth
Agnes Moorehead	...	Christine Hill Cosick
Robert Keith	...	Paul E. Cosick
Howard Da Silva	...	Deputy Police Chief Moskar (as Howard da Silva)
Jeffrey Hunter	...	Danny Klempner
Martin Gabel	...	Dr. Strauss
Grace Kelly	...	Mrs. Louise Ann Fuller
Frank Faylen	...	Walter, room service waiter
Jeff Corey	...	Police Sgt. Farley
James Millican	...	Police Sgt. Boyle
Donald Randolph	...	Dr. Benson

Also Known As:

14 Hours (USA) (alternative spelling)

Runtime:

92 min

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (Western Electric Recording)

Certification:

West Germany:12 (re-rated) | West Germany:16 (original rating) | USA:Approved (certificate #14687) | Finland:K-12 | Sweden:15

Filming Locations:

20th Century Fox Studios - 10201 Pico Blvd., Century City, Los Angeles, California, USA

Company:

Twentieth Century-Fox Film Corporation

Trivia:

This film is based on a real life incident which happened July 26, 1938 in New York City. John W. Warde, 26 years of age, leaped seventeen floors to his death from the ledge outside a room in the Hotel Gotham.

Goofs:

Revealing mistakes: Stock rear projection footage of normally-moving motor traffic while Cosick is on ledge is not consistent with huge traffic jam shown in area surrounding hotel where he is threatening suicide leap.

Quotes:

Ofcr. Charlie Dunnigan: Look, I almost had him a couple of times. I - I know I can con him in if I can just get my hands on what's bothering him.

Movie Connections:

Referenced in The Making of 'High Noon' (1992) (V)

He Ain't Superman

A movie like this presents a real challenge. After all, the producers have got what amounts to a single set, two main characters, and 90 minutes to fill. So to please ticket-buying customers, they better come up with something good. Fortunately, they do. The plot is a literal cliffhanger or maybe skyscraper is more apt—will a suicidal young Richard Basehart jump from his 20th floor ledge or not. He certainly has audiences on both sides of the screen glued to the suspense, at the same time city police try to convince him it's better to be an unhappy bi-ped than a bird without wings. Good thing that the producers also come up with one of the best young actors of the time—Basehart, who acts just foggy enough to teeter on a ledge and play Hamlet. Then there's that genial roughneck Paul Douglas as the cop who tries to persuade him that it's really better to be than not-to-be.

Note how ace studio director Hathaway keeps the hotel room bustling so that the static ledge shots don't become boring. Also, note how TV is competing with radio coverage at a time when the tube was just beginning to take off. Then there're the subplots that take the pulse of the city. The cynical cabbies do offer comic relief. But, frankly, I could have done without the young lovers, Paget and Hunter, who appear better suited to a Pepsi commercial, or the Grace Kelly soap opera that comes across as trite and unimaginative. But I guess the producers figured a variety of relief was needed. Also, I can see from the close-ups why Hitchcock liked Barbara Bel Geddes (Virginia). She pulls off the really difficult task of being sweetly wholesome without drowning the part in sugar.

All in all, there's enough skill and craftsmanship in this TCF production to keep even digital- age audiences on the edge of their seat.