The Slender Thread

I saw it years ago (because they don't show it anymore) and I loved it. This is one of the best films I have ever seen. I am not such a big fan of drama, but this mixture of drama and suspense, coupled with a touching homage to the selflessness and compassion of the suicide prevention workers, is simply breathtaking. I also liked the fact that race is never an issue, yet it does loom between the lines (she can't see his color, so, in what sense does it even exist?). Bancroft and Poitier are among my favorite stars because so many of their films are so good. I always want to know: what role does an actor have in selecting his movie roles? Actors are - I hope - not only actors, but selectors of roles. That is a critical role, because there is no good acting in a bad movie.

I enjoyed the film not only for its taught and gripping story line; but also for the director's imaginative filming technique. The Slender Thread is unique in it's actual "threading" of actors, particularly, who become much bigger in life as their careers flourish. I always enjoy the chance to see an actor/actress before they go on to fame. Stephen Hill is one of those.

Although not a true film noir; the black and white filming for me adds to the total involvement of the viewer and gives a heightened perspective to the whole cinema outing.

I suggest the film highly. The interactions between cast are worth the view.

I saw this title coming up on TCM, read the synopsis, and KNEW instantly that this one I had to see. And like I said, I should have known. Poitier is probably one of the top ten dramatic actors of ALL TIME! I'm not sure I've ever seen a bad film that he was in. This little gem, was tremendous. I don't comment on many film's but when I see one I haven't seen before, and it's as good as this one, I can't restrain myself. Watch it when/if you can, and you won't be disappointed! There are many subplots and twists to this film, and it has many fine performances, including Telly Savalas, and Ann Bancroft. There are small parts, for a young Dabney Coleman, and one of Ed Asner's early ones as well. I am a classic movie buff, with over 800 titles in my library, and I simply love it when I come across a new one that I hadn't seen/heard of before. Like I said, Watch this one when/if you can.

I believe that this was Sydney Pollack's directorial debut. If so, then he certainly gave an interesting insight into his future work. Seattle college student Alan Newell (Sidney Poitier) is working at a crisis hotline center when he gets a call from housewife Inge Dyson (Anne Bancroft), who is reaching the breaking point. Because they can't see each other, it gives the movie a real sense of tension, as implied by the title - even if it drags a little bit at times.

A previous reviewer said that Poitier plays his usual role: a morally superior black man in a white-dominated society. That's partly true, but here, he has a job that anyone could have, and his race doesn't really matter (although as the reviewer noted, they could have been subtly talking about race). As for Anne Bancroft, her death six months ago brings her filmography to mind. This may have not been her most famous role, but I would recommend it.

Sydney Pollack's first feature directorial debut after years of directing episodic television is crisp, tense, and generally very well-acted. Anne Bancroft plays a woman facing a turning point hard to cope with in her life and Sidney Poitier plays a young college student raking in hours at a suicide hot-line extending a figurative helping hand. Though the two great actors share no scenes together - they have a certain chemistry as they talk, talk, and talk on the phones, and we are given flashback sequences showing us how and why Bancroft is fighting her new found depression. Though the story itself is rather mundane in terms of the impetus for her disposition, the dialog and performances easily make up for any inadequacies. Both Bancroft and Poitier really shine in their roles and the rest of the cast - especially Telly Savalas do fine work. It is evident that Pollack was honing his craft but also possessed a great deal of ability in terms of framing a shot and creating a strong pace and presence throughout the picture.