THE NIGHT HOLDS TERROR is an interesting thriller/film noir entry for various reasons. Yes, it bears a strong similarity to THE DESPERATE HOURS, but that's because both were inspired by the same true (and sensational) story. Proving which one went into production first might be difficult. But really, it doesn't matter, because unlike the Hollywood sheen of THE DESPERATE HOURS, this odd little film has many gritty aspects and colorings and transcends its low budget.
John Cassavetes is always great to watch, even in a lesser picture. Here, while he rarely truly shines, he manages to keep tightly wound like a coiled spring, with his menacing glare and occasional flashes of violence. Vince Edwards is actually nowhere near as good here as he was playing similar hoods in MURDER BY CONTRACT, CITY OF FEAR and THE KILLING, though it's an acceptably menacing performance.
What really makes THE NIGHT HOLDS TERROR is a constant reliance on real locations. I couldn't spot one studio set in the entire picture; every interior seems to be in a real place (Cassavetes' modern hilltop home and the Courtiers' kitchy suburban one, police stations, telephone switching centers, the Mojave desert, etc.). There is even one standout sequence where the captors' car careens through the desert, photographed by what appears to be a cameraman barely holding onto the hood of the car. No rear screen here, and this is several years before the famed from-the-hood Venice driving sequence in TOUCH OF EVIL.
And the pace of the picture is practically amphetamine-charged. If the camera isn't moving, the cast always is, with constant dialogue shot through with tension. This is a strong, underrated thriller, and while hardly a perfect masterpiece, it's definitely superior to stagier hostage dramas of the period and well worth tracking down.
John Cassavetes is always great to watch, even in a lesser picture. Here, while he rarely truly shines, he manages to keep tightly wound like a coiled spring, with his menacing glare and occasional flashes of violence. Vince Edwards is actually nowhere near as good here as he was playing similar hoods in MURDER BY CONTRACT, CITY OF FEAR and THE KILLING, though it's an acceptably menacing performance.
What really makes THE NIGHT HOLDS TERROR is a constant reliance on real locations. I couldn't spot one studio set in the entire picture; every interior seems to be in a real place (Cassavetes' modern hilltop home and the Courtiers' kitchy suburban one, police stations, telephone switching centers, the Mojave desert, etc.). There is even one standout sequence where the captors' car careens through the desert, photographed by what appears to be a cameraman barely holding onto the hood of the car. No rear screen here, and this is several years before the famed from-the-hood Venice driving sequence in TOUCH OF EVIL.
And the pace of the picture is practically amphetamine-charged. If the camera isn't moving, the cast always is, with constant dialogue shot through with tension. This is a strong, underrated thriller, and while hardly a perfect masterpiece, it's definitely superior to stagier hostage dramas of the period and well worth tracking down.