Time Without Pity (1957)

  |  Crime, Drama, Mystery

Time Without Pity (1957) Poster

The day before a young man is to be executed for killing his girlfriend, his alcoholic father shows up to try to prove his innocence.

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  • Paul Daneman in Time Without Pity (1957)
  • Renee Houston in Time Without Pity (1957)
  • Ann Todd and Leo McKern in Time Without Pity (1957)
  • Michael Redgrave in Time Without Pity (1957)
  • Alec McCowen in Time Without Pity (1957)
  • Time Without Pity (1957)

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26 January 2005 | stephen-357
An incredibly edgy, self-aware film
Time has no pity, no sympathy, no joy and no sorrow. It's passage denotes the brevity in which the living inhabit the earth. In TIME WITHOUT PITY, a young man is dong time in prison for a murder he did not commit. A correctional institution is about to put a stop to that young man's time at the behest of the State. A father caught between the daunting task of fighting the system for more time, and forgetting time altogether at the bottom of a whisky glass. A broken woman mourning the loss of time never spent with one who's out of time. Every character in this drama is lost somewhere in their own guilt ridden space and time, but director Losey makes sure his audience is always aware, littering the screen with watches and clocks ticking like a giant timebomb about to explode as the desperately pathetic father searches for a clue to disable the alarm. Lost in an alcoholic haze that is almost dreamlike in it's ability to paralyze action, he clumsily attempts to win back for his son the time he let slip away. Is it too late? An incredibly edgy, self-aware film, TIME WITHOUT PITY clearly states its objection to the State as executioner. From the opening scene, we know the son did not commit the murder, but neither the State, "You must keep your visit short . . . we don't want to upset the prisoner," the Church, "He's given himself over to more compassionate hands," or the anti-capital punishment advocates, "We're not interested in whether young Graham is innocent or guilty," seem to have a specific interest in the individual. To make matters worse, young Graham himself has given up hope and when his father pleads, "don't give up," he asks, "What difference would it have made if you had died when you were my age?" And this question gets to the core of the film; it's resonance heavily influencing the final pivotal scene.

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