Journey Into Fear

The cast of this movie is utterly amazing. From Sam Waterston, to Zero Mostel. From Joseph Wiseman to Donald Pleasance. Vincent Price. And yet, it seemed much less than it could've been, due to some VERY poor editing...

The story, briefly, is about a U.S geologist (Sam Waterston) who discovers something about Oil that proves VERY threatening to the Turkish and Arab business people...so, we spend 90 more minutes, watching Sam in absolute terror, while several people try to kill him.

Sam Waterston is WONDERFUL in it - but all the other big names seem to be really uninterested. Price is good - but what else is new? Zero Mostel, usually referred to as a genius, is so annoying you want to knock out his teeth. Ian McShane, believe it or not, has a rather significant part, but NO LINES...strange. The very worst of it is Yvette Mimieux. If you liked her as Weena in the original Time Machine, don't even bother to watch her here. She is simply awful. She does a song in a nightclub, with a voice-over, and she makes nearly NO attempt to synchronize her lips to the words. It's downright comical.

But, she does do a good job of seducing Mr. Waterston. And, so would I!

If it wasn't for Sam Waterston, this movie would be almost comical. But Sam, you know...he's the only one who cares enough to put his heart into it...what else is new?

Swap a train for a boat, oil for some bullets and we have a rehash of the 1943 Orson Welles version of this story - only this is nowhere near as good. It doesn't really help that the casting lacks for any great clout. Sam Waterston is weak in the lead as "Graham" - the scientist who gets caught up in a Turkish conspiracy after he discovers that there might just be oil in them thar desert. This information is proving quite dangerous for the man and he needs to get out before he succumbs to one of the plentiful - but not very efficient - assassins out to kill him. He manages to make it onto a train on which he hopes to escape - but are the passengers all they seem to be? We know from fairly early on that "Banat" (Ian McShane) is his biggest danger and therein lay my first problem. He has all the menace of a cucumber sandwich. Zero Mostel's duplicitous "Kopelkin" fares little better and though the supporting cast boasts some A-list names, they feature too sparingly to make much difference with this rather far-fetched and procedural attempt at a thriller that's just, well, very light on thrills. I did quite like the last few scenes as things flare up, but otherwise this is a pretty unremarkable television movie that you'll very readily forget.

Top-notch cast, nice scenery (in Turkey, Greece and Italy), a dazzling car stunt at the very start and a memorable dispatching of the final villain are the main virtues of this otherwise pedestrian chase yarn which plays like an elongated episode of a TV series of its time. There is very little story - just the pretext of a McGuffin (everybody is after Sam Waterston for some "information" he has - which we never learn what it is). Vincent Price and Ian McShane fare best in the name-packed cast; Waterston is a rather bland lead, Zero Mostel is annoying as a "Turkish" agent, and Yvette Mimieux gets to show us her washboard abs, which are a definite plus, but has little else to do. *1/2 out of 4.

In this pretty crummy adventure flick, Sam Waterston stars as an American who becomes the target of an assassination when he discovers oil in Turkey. It's a remake of the 1943 Orson Welles movie, but you're far better off sticking with the original. Sam comes across as remarkably awkward as he runs for his life. He saunters around in wide open spaces, then seems surprised when bad guys start shooting at him. And worst of all, he trusts everyone! Someone around him has to be a bad guy, right? Either Yvette Mimieux, his beautiful and unlikely love interest who doesn't mind his ineptness; Zero Mostel, his guide from the Turkish embassy, Vincent Price, an art aficionado, Shelley Winters, who's basically playing a five-second stereotype of her character in The Poseidon Adventure, Donald Pleasance, Ian McShane, Stanley Holloway, or Jackie Cooper. Someone has to be out to get him, or else why is his life in danger?

If you're the type of person who likes to watch bad movies and chuckle, you might like this one. But if you're looking for a quality thriller or on-location adventure flick, stick with Death on the Nile. For me, the best part of the movie was seeing Vincent Price act out his real-life persona of appreciating great art.

The main interest of the plot here is that you never really are informed of what it is all about. Sam Waterston as Howard Graham gets into deep trouble from the beginning and is persecuted hard throughout the film, without his ever understanding why everyone wants to kill him. As the audience you are as bewildered and confused as he, you eagerly wait for some explanation which never comes, and like Howard Graham you just learn to think the worst of everyone, as even the one murderer who appears visible never says anything but only waits for him everywhere. This was according to Hitchcock a capital sin in a thriller movie, who was always meticulous about keeping the audience in the clear about everything. Here you are kept confused even beyond the end. It's an efficient thriller though, there are many moments of truth of sustained suspense, and all kinds of great actors walk by as in a parade, like even Shelley Winters and Stanley Holloway as a displaced American couple. Zero Mostel in the beginning makes a wonderful impression, and so does Joseph Wiseman as a very strict and correct Turkish officer. Yvette Mimieux is a relief between all the manhunts and massacres, and fortunately she at least is innocent. The film ends abruptly in Genoa with the story unfinished, and we shall never learn what it really was all about.