Private Property (1960) User Reviews (19)

An Uncovered Gem

[gavin6942 · 7/10 · 20 November 2016]

Duke (Corey Allen) and Boots (Warren Oates), two young thugs, hold up a California gas-station owner. Duke, virile and savage, taunts the slower and psychologically-confused Boots because he has never made a sexual conquest.

This film came about due to press agent Stanley Colbert, who hoped to move Leslie Stevens from Broadway (where he was a playwright) to Hollywood. Along the way, Colbert introduced Sevens to Kate Manx, and they were soon wed. The three combined birthed Daystar Productions, and with it, "Private Property".

The hiring of the camera crew happened by accident, and was fortuitous; the picture looks great. Colbert hired a nobody, Conrad Hall. And Hall brought with him a minor legend: Ted McCord, a veteran of "East of Eden" and "Treasure of Sierra Madre", as well as scores of others. Hall today is better known than McCord, as he went on to great things over the next three decades -- not only as a regular under Stevens on "Outer Limits", but as the cinematographer for such classics as "Cool Hand Luke" and "American Beauty".

How long has this film been buried? Apparently it had become largely lost and forgotten because it couldn't get a production seal in America. Today, the film is tame, but apparently not then. Making a profit in Europe before disappearing, in 2016 it was recovered and given the proper Blu-ray treatment. If nothing else, it deserves this for the names involved: Leslie Stevens (creator of "The Outer Limits"), Corey Allen ("Rebel Without a Cause" and Warren Oates ("Dillinger"). These three men had only just begun in 1960, but were each soon giants in their own way.

But it also stands on its own as an interesting crime film. Part home invasion story, part "Without Warning", and part "Of Mice and Men", it is hard to categorize. Not quite film noir, but still something different. It almost evokes the feeling of a BBS film, something independent that might have been more at home in the 1970s. Coupled with strong performances from the three leads, it is worth tracking down. There is an unusual exchange between Manx and Allen when he reveals that he has been squatting next door that has to be seen to be believed, it is so hypnotic.

The Blu-ray's greatest feature is the film itself, but it also has some highly informative liner notes and an 18-minute interview with photographer Alexander Singer. Singer covers a wide range of topics, from his time on Kubrick's "Killer's Kiss", to the more technical explanations of "softening" the lens and how it has been accomplished over the years.

An apparently lost and forgotten film

[Dave Godin · 7/10 · 16 September 1999]

Very few people seem to have heard of, let alone seen, this bizarre and strange film, but it is ripe for re-discovery as a precursor of the harsher realism that American movies were able to explore once censorship restrictions were lifted. It is open to all sorts of interpretation; is it a critique of capitalism in which the marriage partner becomes "property"? Is there a hidden homosexual motivation between the two buddies who can, apparently, only attain their "manhood" when in the company of each other? It is perhaps wrong to read too much into early movies using today's sensibilities, but subversive this film most certainly is, and reflects much of the thinking expressed in a ground-breaking book of that era entitled "The American Sexual Tragedy". Passion, when repressed, always runs morbid, and this film illustrates that notion with realism and skill.

Excellent 60's psychological thriller

[Woodyanders · 8/10 · 20 February 2017]

Charismatic creep Duke (a strong and mesmerizing performance by Corey Allen) and his dim-witted virginal partner Boots (ably played by the always terrific Warren Oates in his first substantial film role) are a couple of young thugs on a rampage in California. Duke sets up neglected housewife Ann Carlyle (a fine and touching portrayal by fetching blonde Kate Manx) as a potential conquest for Boots to have his way with.

Writer/director Leslie Stevens relates the gripping story at a quick pace, offers a pungent critique of the stifling and superficial nature of upper middle-class American existence, adroitly crafts a brooding mood rife with pent-up rage and simmering sexual tension, and pulls out the stirring stops at the exciting conclusion. Moreover, the homoerotic relationship between Duke and Boots further enhances the overall edgy and unsettling atmosphere. Robert Wark acquits himself well as Ann's preoccupied career-obsessed husband Roger while Jerome Cowan has a memorable bit as a luckless motorist Duke and Boots terrorize at the start of the movie. Ted D. McCord's sharp black and white cinematography and Pete Rugolo's spirited score are both up to speed. A real sleeper.

Dirt Cheap; Diamond Quality!

[spookyrat1 · 7/10 · 31 May 2020]

Private Property is a great little neo noir vehicle, outstanding in that its inherent quality, belies the shoestring budget upon which it was made. All the creative elements fortuitously came together for writer/director Leslie Stevens. He gets a great central performance from Corey Allen as deviously shrewd drifter Duke, as well as a distinctly arousing turn from Kate Manx as domestic goddess Ann, seemingly the object of every man's desire, apart from her husband Roger. Then on top of all that, he manages to score the highly experienced Ted McCord as his cinematographer. He must have thought all his Christmases had come at once.

One part home invasion, one part voyeuristic thriller, and one part social critique, considering it was made 60 years ago, Private Property still manages to be quite confronting. It's fairly upfront in its treatment of sexual themes and desires. It looks remarkably good for a film made on such a low budget, even going as unexpectedly far, as featuring some quite extensive underwater photography. I have to be honest and balance my praise, when adding the musical soundtrack however is frequently over-intrusive and not always quite appropriate, for the accompanying scenes.

Stevens comfortably helms the project making excellent use of both his car and home to site the majority of the action. On the evidence of this film, one feels it's a pity we didn't see more cinema work from him, as for much of his career, he worked in theatre, later transitioning to television, where he is arguably best remembered as being the creator of the original Outer Limits.

A Psycho-Sexual Thrill Ride from 1960

[mackjay2 · 7/10 · 17 November 2016]

This legendary, presumed lost film is now available is very good print on blu-ray and DVD. Was it worth the wait? I'd say yes. PRIVATE PROPERTY is artfully photographed and has a very capable cast who give convincing performances. The film is short and to the point: a crime thriller with some subtext, that holds a viewer's interest and sustains plenty of tension. It's not some lost masterpiece, but an accomplished minor film that is somewhat ahead of its time in frankness about some sexual matters.

Corey Allen (Duke), Warren Oates (Boots) play drifters who have apparently just met. Duke is the stronger personality and clearly a manipulating sociopath. He dominates Boots, promising a sexual initiation with a beautiful suburban housewife Ann (Kate Manx). The men have followed Ann to her home by way of nearly car-jacking another driver (Hollywood veteran Jerome Cowan). They hole up in an unoccupied house next door and watch Ann as she swims and sunbathes. All the while, Duke stokes Boots' sexual frustration. It's never clear just how much Boots actually wants Ann. He's clearly under Duke's spell, and soon Ann will be as well. Once Ann's husband leaves on a business trip the film kicks into high gear. There is a nice, moody, late-50s feeling to much of this film, especially in the scenes set inside Ann's home. But unlike most films of the era, PRIVATE PROPERTY has a frankness about sexual matters and sociopathy. Possibly only PSYCHO or PEEPING TOM (both also released in 1960) dared to openly portray violent sexual deviancy in similar ways. PRIVATE PROPERTY is nowhere near those films, artistically speaking, but it's still pretty strong stuff to watch. Leslie Steven's direction is economical and well paced. Thanks to Ted D. McCord, the film has an attractive look, occasionally resembling TV drama from the period. Pete Rugolo's score adds a lot to the atmosphere. Best of all are the actors. Manx is very affecting and it's too bad she did not appear in more films. Corey Allen (always underrated, even after a well- remembered sequence in REBEL WITHOUT A CAUSE) gives the strongest performance. He's very adept at playing on the other characters' weaknesses to achieve his own ends. And Warren Oates at the beginning of his career is a standout as the weak-willed, sexually conflicted Boots. It's great to finally have this film in such a terrific edition.

The Film with Only Two Certificates!

[jimm-8 · 7/10 · 29 December 2016]

When I caught up with this film in Nottingham in 1965 it was being proudly advertised as "The Film with Only Two Certificates in England!" True, at that time only Leeds and Liverpool had passed the film with a "local X." The British Board of Film Censors had rejected the film on 30 March 1960, leaving small British distributor Cross-Channel (who also released Blackjackets) with the task of persuading as many local authorities as possible to pass the film for exhibition. Cross- Channel had an initial break-through when the film was chosen for the opening run at the new Compton cinema in London's West End. As a cinema club for members only the Compton did not need certificates and duly premiered the film on 16 November 1960. Personally, I found the film fairly harmless viewing even in 1965, although the story of two drifters ogling the bored housewife next door eventually became a bit creepy. Most of the local watch committees said no, but a fair few said yes:

London Compton – Wednesday, 16 November 1960 (British premiere); LEEDS Plaza – Sunday, 20 December 1964 and week; LIVERPOOL Essoldo (London Road) – Sunday, 4 July 1965 and week; LEEDS Gainsborough – Thursday, 2 September 1965 (three days); NOTTINGHAM Moulin Rouge – Sunday, 14 November 1965 and week; LIVERPOOL Jacey Film Theatre – Sunday, 19 December 1965 and week; LIVERPOOL ABC (Walton) – Monday, 16 May 1966 (three days); WAKEFIELD ABC – Monday, 27 June 1966 (three days); WEST BROMWICH ABC – Thursday, 29 September 1966 (three days);

The mini-release must have made a good bit of income since the distributor deemed a re-issue in 1969 more than worthwhile:

BIRMINGHAM Cinephone – Sunday, 24 August 1969 for two weeks; NOTTINGHAM ABC Elite – Sunday, 5 October 1969 and week; LIVERPOOL Jacey Film Theatre – Sunday, 7 December 1969 and week;

Classic?

[sibleybridges · 6/10 · 15 September 2021]

Two drifters become obsessed with and annoy a frustrated house wife in the Hollywood hills until things become dangerous. This feels like most indie movies today that are a few people in a house and then some stuff happens, so I wasn't suprised to see that it's being remade.

This was scandalous in the 50s and even earned an X rating in the UK. It's mostly innocuous, but it does have a very dark ending with some implied things. Overall, I'm not sure it's the "lost classic" as I've read and really dosnt need a modern remake. I guess it was way ahead of its time, but I generally don't really like the films it's way ahead of. Fortunately, it's only 80 minutes and the last 10 minutes was great.

Watched on Kanopy.

Well worth a scoping.

[george.schmidt · 8/10 · 4 July 2016]

PRIVATE PROPERTY (1960) *** Corey Allen, Warren Oates, Kate Manx, Robert Ward, Jerome Cowan. Ahead of its time slice of pulp noir with Allen and Oates as a pair of ne'er do wells looking to score (in more than one ways) in LA by squatting in chic LA suburbia and espying on lonely, neglected, comely housewife Manx (Barbara Eden like in her demeanor and appearance and the director's then wife) with an undercurrent of danger percolating at full boil. Written and directed by Leslie Stevens (creator of the sci-fi TV series classic The Outer Limits) the film conveys the haves/have nots well with some gorgeous black and white cinematography by Ted McCord. Allen does a credible job as a sociopath attempting to maintain some normalcy while an astonishingly lean and young, vulpine Oates mesmerizes as the long-suffering chum. Well worth a scoping.

A View From 2022

[dougdoepke · 10 April 2022]

It wouldn't be fair for me to rate this 1959 flick. On one hand, it has historical significance since it was one of the first movies denied release by American censors who found it forbidden fruit. On the other hand, as entertainment, I found the 79-minutes unfortunately too talky and boring to endorse. Hence, it doesn't seem fair to choose between the two poles.

The flick starts off well enough, at a filling station where two seedy drifters, Duke and Boots, look to fill their empty lives by pursuing a wealthy blonde for seduction purposes. Now that's a promising start, but from there on, except for the brief ending, the narrative flattens out into a basically one-note affair. After all, how long does it take wily Duke to infiltrate blonde Ann's hilltop mansion where she usually lives alone, her businessman husband out making money. Then too, it's a stretch that wealthy hubby would leave her alone without household help.

Thus, it appears budget constraints flatten the main storyline into a series of hilltop one-on-one talk-fests. Sure, Duke wants to insinuate himself into Ann's life by pretending to be a gardener. But needed suspense in his manuevers is sorely lacking. Still and all, the hilltop setting does furnish a good scenic view of greater LA that kept me watching.

All in all, it looks like the indie effort was a well-intended effort to escape the bonds of 50's studio productions held captive by a strict censorship code. But what might have been cutting edge then, seems banal now when much looser public standards prevail.

My advice: if you're looking for more than mainly talky flatlining, skip it. But if you're interested in former forbidden fruit grab it and bite.

People definitely had hangups back in the day, people definitely have'em now

[ivan_dmitriev · 7/10 · 5 February 2023]

Ok, this will require quite a suspension of disbelief, because everyone - I mean - grown *** men behave like like if they were the size and age of middle school pupils in the presence of 2 mildly dangerous, and not the least intimidating thugs.

The one playing the "psycho creep" is quite effective, while the "knucklehead" is, while a supporting role, gives some depth to all the characters, however this isn't without some funny moments where there Psychopath is putting on his maximum creep and being incredibly passive aggressive

> I'm tryin' to set up a business here like if that's how people used to talk in the 1960ies I'm not surprised that they missed tons of serial killers

>Hey lady hire me to do your plants.

> Or you know, I just mighta murder you > After all, I've godda landscaping bizness to run

This is an otherwise an effective home invasion thriller with some innovative camerawork making the spectator commingle with the criminals, becoming a sort of voyeristic criminal oneself, however this choice wasn't followed through to the end, presumably because this all - including the very mild, but effective suggestiveness, was a bit too much for the pre-Summer-Of-Love Mental Liberation Holywood.

The end is clichéd and conventionally moral, especially with the "Are you hurt?" and the wife's "I was , but now I am okay" reply, however, this is open to interpretation, as titles roll and it's very clear that what's being portrayed is a doomed, possibly manipulative and abusive relationship of a husband who's 20 years older than his wife, all the while under the fig leaf of the suitably-aged explanation that he met her "in school" when she was "just 19". And then "he went to Chicago".

This segment just made me guffaw out loud, because of all the implications of the unsavory realities of that bygone era and even not such a remote period of time, that we now know of, for certain.

Overall, an effective thriller whose message have changed over time and which will probably remain a classic.

Are you all right? I wasn't but I am now

[kapelusznik18 · 5/10 · 9 February 2017]

***SPOILERS***Two just released from the clink-prison-convicts Duke & Boots, Corey Allen & Warren Oates, are looking for a place the crash as well as in Boot's case meet a girl and have a couple of beers when they spot pretty blond Ann Carlyle, Kate Manx, gas up at the gas station that they were hanging out at. After carjacking at knife-point Jules Maitland they followed Ann to her home in the Hollywood Hills to check out her and her property. Occupying a nearby house, that's deserted, the two spend their time watching Ann sunbathing and taking dips in her swimming pool as they plan their next move.

It's the aggressive Duke who soon makes the first move on Ann claiming that he's a successful gardener or botanist who want's to get rid of the crab grass on her property as well as keep the bugs from devouring her flowers & roses. All the time the sexually frustrated Boots is going crazy in not having his good friend Duke, who's slowly getting very friendly with Ann, not give him a chance to get introduced or get a crack at Ann like he promised him. With Ann's husband Roger, Robert Wark , about to show up from a business trip in San Francisco Duke doesn't know what he's gotten himself into with now both his friend Boots and soon Robert about to catch him in the act and expose him as the sexual psycho that he really is.

***SPOILERS**** Things get completely out of hand with a drunk and out of his skull Duke totally losing it and drunkenly attacking Ann, who refused his advances, with Boots trying to come to her rescue. The fighting ends up in the family swimming pool with Duke & Boots slugging it out as Ann's husband Roger shows up only to be attacked by a totally out of it, after knifing his friend Boots, Duke. It's the drunk and punched out Ann who puts an ends to all this by blasting Duke, with her husband's .38 revolver, who despite having been seen dripping wet, after his fight with Boots in the swimming pool,was bone dry without as much as a drop of water on him or his cloths!

Sharp contrasts - watch it for the atmosphere

[manuel-pestalozzi · 8/10 · 22 June 2019]

This movie has a high artistic quality. It was filmed by experienced veteran Ted McCord in the typical clinically clean black and white-style of the era. The main setting is an elegant house in the sun drenched hills of Los Angeles - and the location is very well used indeed. The bright setting is sharply contrasted by sexual frustration. The main character seems to be a piece of decoration for her husband, a successful, mainly absent businessman. Her constant stereotype Pepsodent smile renders her somewhat subhuman - well a part of the property. Yet she has a yearning which is unfulfilled. At one point she pulls a broad black belt around her neck, pulls it tight and lies down on the bed. Her lonelyness is relieved by two doubtful characters, one of them a young Warren Oates. Very well filmed underwater swimming pool scenes at the dramatic climax at the end.

Sexy vintage thriller

[professor-moriarty1 · 6/10 · 10 June 2023]

This black and white film produced in 1959 is tame compared to what is out there nowadays. Corey Allen, who is best remembered as the gang leader in the movie "Rebel Without A Cause" (1955), is very good as the sexy stud drifter. He shows up at the house of a luscious blonde housewife saying he is looking for yard work. Her much older husband is away on a business trip. There are plenty of shirtless shots of the muscular and hairy chested Allen who knows the wife is sexually attracted to him. They wind up in bed and then things get wild. His dense sidekick is played by actor Warren Oates in an early role.

Ahead of its time

[Leofwine_draca · 5/10 · 12 November 2022]

PRIVATE PROPERTY is, it seems, a film ahead of its time, a slightly sleazy drama/thriller with much in common with the exploitation flicks of the 1970s and beyond. It was once very hard to see or get hold of. Made back in 1960, it's actually pretty tame and slow, and for the most part consists of a couple of guys ogling a beautiful blonde woman from their hiding place next door. The film was obviously made on a low budget which hurts it somewhat, and a lively climax shows what could have been in more capable hands. Warren Oates stars as one of the youths early on in his career but gives a surprisingly lacklustre performance.

This is a very frightening scenario that I am sure has played out in the California suburbs many times before and since

[Ed-Shullivan · 8/10 · 10 September 2019]

Although this film is supposedly a fictional drama, I believe there are literally hundreds (if not thousands) of lonely and attractive housewives all across North America who can relate to the scenes played out in the film Private Property. We have all heard that phrase before of "playful and innocent enough flirting or sexual teasing". And we have also heard the phrase "No means No" in countless drama films which are played out in both an actual and/or a fictitious court of law.

This film draws a very fine line between some tense criminal and very real sexual assault activity that is hard to watch and a very good dramatic simulated performance played out by all four (4) of the film stars. The female lead played by Kate Manx as the lonely suburban California housewife who was ignored by her business executive husband appreciated the attention bestowed upon her by the aggressive stranger who showered her with compliments as well as many lies.

We the audience could see that this lonely housewife was getting in over her head and the two strangers were thinking with their little heads and not their big heads. We see how quickly some playful flirting innocence can turn both violent and deadly. This black and white film is still a great watch some sixty (60) years later.

I rate Private Property a high 8 out of 10 rating that all women and men including young teenagers should watch to remind them to keep their emotions in check and the boys to keep their peckers in their pants.

Mild 5O's Sleaze

[torrascotia · 5/10 · 27 March 2024]

Apparently there is some story around this as being a lost movie but here it is. Sort of reminds me of all those UFO documentaries which have the tagline about having secret information "they" don't want you to know about. Despite the show being on national TV. But I suppose some movies need a hook to garner interest.

This is a basic, but still rather twisted story about two ex-cons who take a liking to a pretty and obviously well off wife of a businessman. They plan to get as close to her as possible in order that the sexually inexperienced of the two cons can have sex with her. What follows is a story about sexual tension and the stupidity of trusting strangers when the husband is away on business. Its an effective enough film even if there is too much "1950's angst/grimace face acting while holding onto the wall for support" at certain parts. Its well enough shot and acted but will obviously be of limited interest to a younger audience. I looked up the female star and she is yet another actress who had not only a short career but lifespan. Shame as she was very watchable in this role.

Conflict of interest

[edgeofreality · 9/10 · 5 July 2021]

Memorable and powerful look at two drifters inflicting themselves on a rich and lonely housewife. The photography and setting are striking. The main conflict is in the leader of the two who starts to develop feelings for the woman. Another is in the sheer coldness of the negligent husband, who is much more dislikable than the villains.

A fine film that deserves more attention

[CincySaint · 8/10 · 8 October 2022]

So glad I ran into this underappreciated gem on Kanopy. Personal Property is a well-produced psychological thriller set in the Hollywood Hills that might make you afraid to be home alone after watching it. Excellent performances by Cory Allen as the egocentric stud and Warren Oates as his weak, sexually repressed friend. Kate Manx is radiant as the sex-starved, rich housewife who wants desperately to experience life like Duke (Cory Allen) does.

The restoration of this film is sensational. The black and white images have a tremendous amount of detail and contrasting shades all captured in 4k. Director Leslie Stevens keeps the suspense moving along and presents some unique camera angles that add to the film's mood.

Quite a wonderful time capsule of life and values in the late 1950s USA. It is a refreshingly edgy film in a time when many filmmakers were not taking risks.

Funny games

[ulicknormanowen · 8/10 · 28 February 2022]

Irving Lerner's "murder by contract' (1958) meets the French Nouvelle Vague,although the latter was never rebellious;this one is : it's a sentence which sparks off both heroes' resentment :human being are like animals :there are different species: birds,snakes ....A bird would not kiss a snake .

Whereas this kind of film would today be full of violence,gore and rape, this one keeps the usual clichés to the minimum :violence in the car with the well off driver is purely verbal but makes one's hair stand on end though .

Although a threatening atmosphere hangs over the desirable property, Duke's and Ann's relationship has something romantic ; he really tries to seduce her ; the best moment is the dance to a score strongly influenced by the Bolero de Ravel ,which perfectly enhances the rise of desire .As for his buddy "Boots' ,he's the voyeur whose lust is all the more intensified .

In spite of a "moral" denouement ,the movie displays the grudge the "Have-nots" bear against the "haves" ;(check the title) and the pre-lib woman ,in spite of her resistance, is perhaps not really satisfied in her role of the prefect housewife whose husband provides her with everything,as she tells us so.