source: Five Miles to Midnight

"Five Miles To Midnight" is a thriller with very few thrills. It does, however, offer some redeeming qualities which make it worthwhile for select viewers. Unlike many of the reviews posted here, I don't think the film is miscast. Anthony Perkins may not fit the description of a physical brute, but his persistent neediness is just as controlling and abusive. Creating such an unlikeable character is a complete reversal of Norman Bates, who was so endearing you almost wanted him to get away with murder. Sophia Loren not only looks beautiful, but turns in a fine, convincing performance. Remember, English is not her first language, yet her phrasing and tone are utterly real, as are her reactions. No surprise that she was awarded a Best Actress Oscar two years previously. The Paris we see here is not a postcard view, but rather a seedier image captured in stark black and white photography. The fault with this film is the script, which is lazy and weak and squanders an intriguing premise. "Five Miles To Midnight" is still worth a look.

Certainly Anatole Litvak was no slouch as a director, but he missed the mark here in "Five Miles to Midnight," a 1962 film starring Sophia Loren, Tony Perkins and Gig Young. Lisa Macklin (Sophia Loren) married to an American, believes that her husband (Tony Perkins) has been killed in an airplane crash. Actually, he was a survivor and wants to collect $120,000 in insurance he took out before the flight by pretending to be dead. Of course, his wife has to collect it. The two don't exactly get along, and the only way to be rid of him is for Lisa to collect the money for him. She is falling for a newspaperman (Young), who is suspicious as to what is going on. Her husband promises he will let her go once he has the money. This is a very unsatisfactory film, in part because of the miscasting of Tony Perkins as Loren's husband. Not only that, but the acting just isn't very good even from pros like Loren, Perkins and Young. Litvak only made two more films after this - it appears he lost his touch after making some marvelous films: This Above All, All This and Heaven Too, Tovarich, City for Conquest. Either that or he had to make too many concessions. At any rate, he didn't pay too much attention to what the actors were doing. The story just meanders along. Not very good.

Tony Perkins, fresh off of "Psycho," isn't Norman Bates, but he's damned close. His eccentric, childish persona really made me nervous. I forgot what a looker Sophia Loren was. I remember her later when she had put on so much weight. Anyway, she has to deal with Perkins and his idiotic moods. He's violent and a bully, so she is stuck. Imagine the relief when she thinks he is dead. But then he shows up and ruins her life. Gig Young comes to investigate and she must carry with her all these secrets of bilking the insurance company. It's a really uncomfortable film to watch. Perkins is way too much here and that kind of ruins it for me. But there is some morality at work here.

Anthony Perkins and Sophia Loren star so you know the Paris-set FIVE MILES TO MIDNIGHT is not going to be a run-of-the mill melodrama. It's the crazy story of Perkins faking his own death and convincing needy Loren to go along with the plan. He doesn't let the fact that she despises him deter him in the least. Director Anatole Litvak hits the ground running wasting no time in setting up this ridiculous situation. Perkins and Loren, whom the script even admits are oddly matched, are excellent. Perkins' first appearance is typical...biting his nails as he nearly stalks Loren (his wife!) in a crowded nightclub. Loren is beautiful and affirms her acting talent. She's a complete bundle of nerves. Gig Young appears late in the film as an American reporter with an eye on Loren and a suspicion as to what is really going on. Very moody, sometimes skirting camp, the film captures a terrific slice of early '60s Paris thanks to some stunning B&W photography by Henri Alekan.

Anthony Perkins and Sophia Loren Paris 1962....insurance fraud thriller... sounds good? WRONG. Anthony Perkins was ruined by Psycho...after his success there he seems to be used for only one role:a weird creepy out of control character--certainly the case in this movie. The story is so unlikely and Perkins so unlikeable both factors make this movie a dud. What can I say it is poorly written not suspenseful. It has lots of very boring or irritating plot mechanisms and red herrings that fall flat. Mostly I think though that it is Perkin's chemistry that wrecks it. Sophia Loren 28 being chased by 55 year old male heroes somehow is just irritating too....I was so glad when Loren murdered Perkins. Both the hero and antihero are repulsive in this thing. God this thing was awful... DO NOT RECOMMEND--you will regret watching it.

I hadn't bothered watching this before because of the negative reviews it always seems to get, but I love Sophia and she made so few decent movies in the genre's I like to watch, that I finally gave it a go, and I was pleasantly surprised I found this to be a very enjoyable sub Hitchcock vehicle Anthony Perkins is very effective as the wheedling, manipulative man child that is his trademark and Gig Young is effectively ambiguous as the smarmy, stranger, who may turn out be an ally or an enemy The movie teases you with possibilities for violence or revelation that come to nothing, so that when something does happen it is all the more of a surprise (Which is considered slow and old fashioned these days, but was par for the course back then) Black and white suits the ambiance that they producers are aiming for, the veneer of French avant guard for a film that aspires to be more than it is, however what it is, is still fine by me PS; - Those who strangely expected Sophia to take her clothes off at some point obviously don't know her very well, as apart from, and perhaps because of, her experiences in her very early days in the movie business, she never does more than undo a couple of top buttons, as she does here

Rather pedestrian, generally slow, and, as others have succinctly noted, very miscast "thriller" about a husband surviving a plane crash and forcing his estranged, unhappy wife into acting like he is dead in order to cash in the huge insurance settlement. Tony Perkins plays the mean, horrible husband - and there are times when his boyish looks and behaviours actually come off as somewhat convincing but more often as not he just seems not up to the part. Sophia Loren - wildly miscast as the downtrodden wife and the wife of this guy to boot. She opens the film doing what has to be the best version of the Twist I have ever seen(she is lovely, absolutely lovely!). But Loren is given really very little to do and she looks so disinterested throughout most of the film until she has some climatic scenes at the end and overacts. There is little thriller here at all - mostly Loren looking unhappy and Perkins smiling and trying to be shocking. Huhhhhh! Sorry I was stifling a yawn. Gig Young, again miscast, plays some former police detective leering at Loren throughout and getting in so to speak to the Italian Zone in Paris. The Parisian backdrops and even the French-themed music are rather nice but I saw the ending coming well before the five mile marker and way before midnight.

You would think that any thriller beginning with Sophia Loren doing the Twist in a Paris nightclub couldn't be all bad! Unfortunately, the plot mechanisms (and red herrings) of "Five Miles to Midnight" nearly defeat Loren, very good as the put-upon wife of a neurotic who has sneakily walked away from a plane crash, hoping to collect on his flight insurance worth $120,000. Anthony Perkins, more nervous and fey than ever, continually bites his fingernail, his face twitching in possessive jealousy, while we in the audience wait in agony for Loren to come to her senses and put him out of his misery. It's hard to determine which element of the picture is more inappropriate: Perkins' icky Norman Bates-isms, Gig Young's leering, Cheshire Cat-like performance as an ex-detective-turned-newspaper man, or Mikis Theodorakis' insanely 'Parisienne' background music. ** from ****

The first thing that will strike viewers as strange is the title. Is "Five Miles To Midnight" a common expression? If so, I've never heard of it before. Anyway, placed next to the movie, it doesn't make that much sense, even though a character in the movie does say the title out loud at one point. If they had used the Charles Bronson title "10 To Midnight", it would have made a bit more sense. The second thing that will be strange to viewers is the pairing of Anthony Perkins and Sophia Loren. True, they were paired together as a romantic couple a few years earlier in "Desire Under The Elms", but reportedly that worked as well as it does here. How a beauty in the form of Loren could be attracted to the nervous, boyish Perkins is hard to swallow, to say the least. But even if the title was fixed AND they got two lead actors with better (and believable) chemistry together, I think the movie still wouldn't have worked. I could see this story being told as a short graphic story in the comic "Tales From The Crypt". I could see this story working as a half-hour episode (with commercials) of a show like "Alfred Hitchcock Presents". Or even as a full hour. But this telling of the story lasts about 110 minutes. It's VERY slow-moving, full of padding like the stuff with the little nosy boy. Plus, the ending of the movie is very predictable - I guessed what would happen after reading the plot synopsis before actually starting the movie. Far from the worst movie I've seen, but still not worth seeing. Trust me, you've seen this story before one way or another.