An unhappy man threatens suicide by standing on the ledge of a high-rise building for 14 hours.An unhappy man threatens suicide by standing on the ledge of a high-rise building for 14 hours.An unhappy man threatens suicide by standing on the ledge of a high-rise building for 14 hours.
- Nominated for 1 Oscar
- 2 wins & 4 nominations total
Howard Da Silva
- Deputy Police Chief Moskar
- (as Howard da Silva)
Parley Baer
- Bartender
- (uncredited)
George Baxter
- Attorney
- (uncredited)
Leonard Bell
- Cab Driver for Mrs. Fuller
- (uncredited)
Richard Beymer
- Bit Part
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaThis film is based on a real-life incident that happened July 26, 1938, in New York City. John William Warde, 26, after a 12 hour standoff, leaped 17 floors to his death from the ledge outside a room at the Gotham Hotel.
- GoofsAt the end of the movie the son of Officer Dunnigan enters through the revolving door in a clockwise, wrong, direction. Officer Dunnigan and he hug and then leave the hotel, exiting through the revolving door, again pushing it in a clockwise, wrong, direction even though all revolving doors turn in a counter-clockwise direction. The push handles are clearly visible on the opposite side of the door.
- Quotes
Walter, room service waiter: [Calling to report jumper] Operator!
Hotel Switchboard Operator: [Sips from cup] Good morning.
Walter, room service waiter: This is the waiter in 1505.
Hotel Switchboard Operator: I'll connect you with room service.
Walter, room service waiter: No, no!
Walter, room service waiter: I don't want a waiter, I am a waiter!
[pauses briefly]
Walter, room service waiter: There's a man!
- Crazy credits[END TITLE]
Out of past experience, the emergency rescue squad of the New York Police has developed techniques to deal with problems of this nature quietly, quickly and efficiently. For their expert advice and cooperation in the filming of this picture we are particularly grateful.
- Alternate versionsTwo endings were shot, one in which Richard Basehart dies, one in which he doesn't. Some original prints show the two different endings one right after the other.
- ConnectionsFeatured in Stars of the Silver Screen: Grace Kelly (2013)
Featured review
He Ain't Superman
A movie like this presents a real challenge. After all, the producers have got what amounts to a single set, two main characters, and 90 minutes to fill. So to please ticket-buying customers, they better come up with something good. Fortunately, they do. The plot is a literal cliffhanger or maybe skyscraper is more apt--- will a suicidal young Richard Basehart jump from his 20th floor ledge or not. He certainly has audiences on both sides of the screen glued to the suspense, at the same time city police try to convince him it's better to be an unhappy bi-ped than a bird without wings. Good thing that the producers also come up with one of the best young actors of the time--- Basehart, who acts just foggy enough to teeter on a ledge and play Hamlet. Then there's that genial roughneck Paul Douglas as the cop who tries to persuade him that it's really better to be than not-to-be.
Note how ace studio director Hathaway keeps the hotel room bustling so that the static ledge shots don't become boring. Also, note how TV is competing with radio coverage at a time when the tube was just beginning to take off. Then there're the subplots that take the pulse of the city. The cynical cabbies do offer comic relief. But, frankly, I could have done without the young lovers, Paget and Hunter, who appear better suited to a Pepsi commercial, or the Grace Kelly soap opera that comes across as trite and unimaginative. But I guess the producers figured a variety of relief was needed. Also, I can see from the close-ups why Hitchcock liked Barbara Bel Geddes (Virginia). She pulls off the really difficult task of being sweetly wholesome without drowning the part in sugar.
All in all, there's enough skill and craftsmanship in this TCF production to keep even digital- age audiences on the edge of their seat.
Note how ace studio director Hathaway keeps the hotel room bustling so that the static ledge shots don't become boring. Also, note how TV is competing with radio coverage at a time when the tube was just beginning to take off. Then there're the subplots that take the pulse of the city. The cynical cabbies do offer comic relief. But, frankly, I could have done without the young lovers, Paget and Hunter, who appear better suited to a Pepsi commercial, or the Grace Kelly soap opera that comes across as trite and unimaginative. But I guess the producers figured a variety of relief was needed. Also, I can see from the close-ups why Hitchcock liked Barbara Bel Geddes (Virginia). She pulls off the really difficult task of being sweetly wholesome without drowning the part in sugar.
All in all, there's enough skill and craftsmanship in this TCF production to keep even digital- age audiences on the edge of their seat.
helpful•193
- dougdoepke
- Mar 8, 2009
Details
- Runtime1 hour 32 minutes
- Color
- Aspect ratio
- 1.33 : 1
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