Four Hours to Kill! (1935) User Reviews (8)

nimble screen writing

[goblinhairedguy · 8/10 · 7 October 2005]

Observing the fates of several diverse characters in the lobby of a theatre while a musical is being performed, Four Hours to Kill is pretty obviously a lower-budget imitation of Grand Hotel. But I'll take it over its more opulent cousin any day. Paramount's dramas were always edgier and more eccentric than MGM's, and still pack surprises for modern viewers. Mitchell Leisen directs with his usual aplomb, but it's really writer Norman Krasna who is ultimately responsible for the picture's success. It's marvellous to see how he interweaves the various story lines and sneaks in new plot revelations every few minutes as the tales intersect with each other. At the same time, he fills in the edges with neat comic vignettes.

There's plenty of pre-code material on hand – one of the major plot points deals with abortion and blackmail (alluded to obliquely, but it's quite obvious nonetheless), which contrasts nicely with the comedy-relief thread of Roscoe Karns's nervous expectant father. Young Ray Milland plays a caddish gigolo whose acquisitive plotting is inadvertently revealed to his married lover, and the most sympathetic character is an outright murderer on his way to the gallows. The latter is played by Richard Barthelmess in his usual insular, haunted style, which is a perfect fit. Fans of "It's a Wonderful Life" will chuckle when Henry Travers insists "Don't You Believe in Miracles?" at one point.

Poor Man's Grand Hotel

[brian-40 · 8/10 · 28 August 2000]

Film of different people and how their lives interact in the lobby of a film theater. One of the many forgotten films (though obviously--and luckily--not lost)that makes me wonder how it is decided what is released on video. This should be!

Well done...and it is bit like "Grand Hotel"!

[planktonrules · 8/10 · 1 December 2016]

I noticed one of the reviewers said this film is a lot like "Grand Hotel" and I agree. Like this famous MGM movie, "Four Hours to Kill!" is a film with several stories that are interwoven together. What ties them all together is the location but instead of a hotel the setting is a theater.

When the film begins, a police officer is supposed to take an escaped prisoner, Mako (Richard Barthelmess), back to prison but they missed the train. So, with four hours to kill, he takes the handcuffed prisoner with him to the theater. In the meantime, you see several other stories unfold including one about Eddie and a woman trying to extort money out of him for breach of promise, a nasty cad (Ray Milland) meeting a married woman as well as a nervous guy (Roscoe Karnes) waiting in the theater as his wife is nearby in labor.

All of the stories are interesting and the acting quite nice--particularly by Barthelmess. I had a hard time imagining this nice-guy actor playing a thug but he and his accent were quite convincing. All in all, the film is entertaining, well written and one of the better pictures of the day. Not quite a "Grand Hotel" but still quite nice. My only apprehension is the Police Captain-- his character and the acting for him were poor and unconvincing....but this is only a minor quibble.

A Barthelmess "Best"

[tashman · 16 January 2002]

We hear the musical's score, provided by Paramount team Robin & Rainger, but the plot unfolds out in the lobby, among the staircases, lavatories, phone booths, and side alleys of the theatre, and we never do see a dot of the musical staging. This should be enough of an inducement for those who love old movies, but can't abide old musicals. The nice ingenue couple (singer Joe Morrison, without a song, and pretty Helen Mack, quivering voice intact) is up against a bitter blonde (Dorothy Tree), while the manager (hey, that's Clarence from IT'S A WONDERFUL LIFE!) is trying to keep his lobby in working order. Roscoe Karns serves up marvelous concern for his expectant father routine, talk about dating a concept! Gertrude Michael, pulling off soft & alluring while retaining her sophisticate aplomb is matched with a remarkable Ray Milland, here giving you a nice example of future rotter qualities. Gertrude happens to wear one heck of a smart hat, though it's the careless loss of her diamond pin that causes such concern. Watch for silent lady Olive Tell as an older woman married to a much younger man, but the most interesting line involves escaped thug Richard Barthelmess and the relationship he develops while killing four hours with his captor, well-played by Charles C. Wilson (cast in a much larger role than usual.) Indeed, there might be a much higher interest in Barthelmess' talkie period if FOUR HOURS TO KILL were more readily available for viewing, for he not only serves as a compelling center for this film, but turns in one of his most subdued, thoughtful, and unexpectedly detailed performances. Blending seemingly mundane details with the lives of interesting folks portrayed by good performers, FOUR HOURS TO KILL provides enough content, twists, and surprises to keep any mystery fan entertained. You will be pleasantly surprised.

Richard Barthelmess at the Top of His Game!!

[kidboots · 9/10 · 18 January 2016]

Richard Barthelmess had surprisingly been one of the highest paid stars of the early sound era but by the mid thirties his popularity was on the decline. After 16 years he found himself freelancing and also back at Paramount, the studio where he had started off, for a gripping little thriller which found him in top form. Norman Krasna had adapted it from his play "Little Miracles" and he used the "Grand Hotel" formula of several different slices of life with the setting being the lobby and auditorium of a New York theatre.

Hat check boy Joe is in a heap of trouble, balancing job, law studies and dewy eyed girl friend Helen (top crier Helen Mack who found plenty to cry about in the first half of this movie) - he still found time to play around and was now in danger of falling for the oldest line in the book!! Another vignette has Lady Sylvia Temple (Gertrude Michael) having a clandestine meeting with her lover (Ray Milland) in the theatre foyer.

Towering above them all is Richard Barthelmess' mighty performance as Tony Mako. Mako is a beaten man, on the way to his execution, accompanied by a kindly cop (Charles C. Wilson), the anger and resentment which saw him take to crime has left him. Now he calmly chats to his companion about appropriate gifts for a 13 year old girl and gives the policeman his savings of $300 with the advice "ask what she wants for her birthday and buy it for her"!! Marooned in New York between trains, Tony is galvanized into one last desperate act after finding out that the gang member (Noel Madison) who sold him out is alive and well and has a wife who works at the theatre. She is Mae (Dorothy Tree), the same one who is trying to shake down Joe with the old "marry me or I need $200" trick!!

The stories tie in - Joe is accused of stealing Sylvia's diamond brooch and the subsequent inquiries show up Milland as the cad he is. Mako also recognises Mae as Anderson's wife - that's when he realises that his nemesis is nearby. Noel Madison may have only a few minutes of screen time but he makes them count with a dynamic piece of acting!!

Good movie, interesting characters - a lot of substance in a short movie.

[jmdb5 · 9/10 · 21 June 2009]

This is a much older movie than I normally watch, but I would watch it again, and again. The old style of camera work, the effectiveness of glances between characters - the use of the eyes - all very well used to develop the mood and ultimately the story.

There was a long speech by the theater manager which exemplifies the moral, religious attitudes of many at that time. Seems really phony by today's standards, but not out of place at all in this setting. It is also a key to the miracles that happen before the conclusion of the movie. It provided the morality lesson in a story cluttered with wrong-doings.

Noticed one continuity error. Generally people wear their wrist watches on the opposite wrist than the hand with which they write. The detective states he is left-handed - appropriate to the script. Later we see his watch on his left wrist. Enough for a smile, but not at all enough to damage the quality of the movie or story.

I was surprised and delighted by how much I enjoyed this old movie. I will watch it again.

FOUR HOURS TO KILL! (Mitchell Leisen, 1935) ***1/2

[Bunuel1976 · 8/10 · 5 February 2011]

I intend dedicating the month to Noir viewing (to contrast the ongoing Luis Bunuel and a proposed James Whale retrospectives): this is not one, strictly speaking, but the key element of that style (namely shadowy lighting) is already well in evidence here. Though not a "Pre-Code" either, we do get an extra-marital affair and an indiscretion for extortion purposes among the numerous subplots! The premise is actually very similar to that of director Leisen's own MURDER AT THE VANITIES from the previous year (which I own but have yet to watch), given the backstage setting; amazingly, though several musical numbers (virtually spanning the film's entire 70-minute run) were commissioned, not once is the camera directed at the proscenium!

Leisen was still at the beginning of his career, so he was dabbling in many genres before eventually settling on comedy-dramas as his forte (if anything, the two are deftly combined in the film under review). Apart from being stylishly handled, FOUR HOURS TO KILL! is beautifully written (by Norman Krasna) – with most of the plot complications that unfold being happily resolved by the last act (including Roscoe Karns' baby anxieties and a couple of meek old foreigners' seating misunderstanding). While considered a star-studded film in its day (a common practice back then spear-headed by 1932's GRAND HOTEL, likewise restricted to one enclosed but invariably busy space), casting is actually pretty low-key – largely made up of has-been (Richard Barthelmess), up-and-coming (Ray Milland) or character (Henry Travers) actors!

Barthelmess as a criminal awaiting execution – hence the ironic title – and longing to avenge himself on his former partner actually delivers a powerful (albeit stagey by today's standards) performance. Rendered all the more chilling by his baby-face and comparably soft voice, he is especially effective during a scene half-way through when he describes his troubled background to his not unsympathetic guardian and, later, when the two try to figure out what the cop's teen daughter might like as a graduation present. At the end, when Barthelmess is shot dead – after he cleverly lures his quarry to the theater for the inevitable showdown – and thanks his 'pal' for freeing him, his poignant words are mistaken by the policeman's superior as the ravings of a dying man! Bafflingly, given its evident quality, the film seems to be quite rare (not even a U.S. poster can be found online!)…and even the copy I watched was culled from a French TCM screening, accompanied by forced subtitles in that language!

Music Soundtrack

[esg2yu102 · 14 August 2005]

A detective has "four hours to kill" at a music theater before he has to deliver his prisoner. This movie really is a copy of the "Grand Hotel" format. What makes this movie stand out is the music soundtrack. All the time the movie is going on there is a Broadway-style show going on in the background. The music is good! It makes you think that this would be a great show to see, but you never get to see it. This really is the reason that most people remember liking this movie, but they can't remember why. I really do not know if it is available on either DVD or VHS, or if it was released by the studio (Paramount?) It's an average move, but excellent soundtrack. Catch it if you like 30's show musicals.