The Slender Thread

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.

My late father, Donald J."Bud" Donahue and my sister, Sandy Donahue ( now Bernard) were extras....since my father was part of the Seattle Chamber of Commerce,at 2nd and Columbia streets, where the office scenes were filmed, he asked that we have small walk-on parts...my father was the "coffee cart guy" and my sister was beside him at the file cabinet....I got a role that entailed walking behind the amazing Bancroft as she talked with Kay Doubleday...it was SO much easier said that done....cables, cords and wires were covering the floors....I did succeed...it was So brief. When my sister and I went to the screening at a very small "theatre", we were so amazed at how the story took shape and the importance of mental health crises programs are in real life. I think that due in a large part to my introduction to the mental health issues shown in The Slender Thread, I began my work in day therapy programs for schools and continue working with high schoolers who might be "at risk".

Seattle was beautiful, as always, yet the continuity for those of us who grew up in Seattle was a bit of a stretch...trying to determine how the protagonists moved from one neighborhood to another in mere minutes.....it was fun to critique. It was laughable, yet serious.

I have since viewed this "dated" movie many times and am returned to a time much simpler..where people showed much empathy and truly cared for the well-being of others...without regard to personal gain...To me THAT is the value of this timeless movie...timeless in regard to social values it demonstrates..those values Never go out of style..for this reason this movie will never be "dated" to me.

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.

Sidney Poitier and Anne Bancroft do not have any scenes together in this movie, which is about his attempts to keep her on the telephone long enough to trace the call, since she's just taken an overdose of pills. It may sound stagnant but it never is - there is some great cinematography and location shooting (in Seattle). A lot of the story is flashbacks, as you find out why Anne has tried to off herself. Her performance is poignant and she never overdoes it; Sidney is perfect, as always.

Tech credits are first rate - scoring by Quincy Jones, costumes by Edith Head, and a Westmore on make-up. I believe this was the first directing job by Sydney Pollack - he did a nice job.

Its okay that the stars never met, they met in real life - Bancroft presented Sidney with his only Oscar, for "Lilies of the Field" two years earlier. And this would make a good double-bill with "'night, Mother", in which Bancroft is on the other end of a suicide attempt.

This film tackles subject matter which we still do not see addressed as often as it could be, with Sidney Poitier as a young suicide hot-line worker/college student who works helping out a Seattle psychiatrist Dr. Coburn (well-portrayed by Telly Savalas).

At the time this was even more of a taboo subject. A housewife feeling despair, Bancroft portrays her alienation and desperation sympathetically and in an understated manner. She has a child from her first boyfriend, concealed this from her husband (well-portrayed by Steven Hill) Her husband becomes angry and she begins to feel as if her life is a sham. Her office job no longer satisfying, she takes to wandering the city of Seattle, there are several intriguing scenes of the coastline.

There is one moving scene where she is on the beach and comes across a small group of children who are trying to rescue an injured bird. She rushes to a liquor store to buy some brandy (not sure how this can quite help the bird, but anyway...) she returns to the beach to find the children have abandoned the bird. It is an effective and disturbing scene.

Poitier is outstanding as usual, in that he is trying to locate Bancroft when she calls threatening suicide. She has checked into the Hyatt Hotel somewhere in the city. He becomes alternately frustrated, caring, sympathetic, angry and joyous in various aspects of the film.

Overall this is an excellent film with some very good performances. Highly recommended. 9/10.