I like the storyline of this show,it attract me so much

This Movie Can Only Be Described With One Word.

Your blood may run cold, but you now find yourself pinioned to the story.

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

Unlike most films that considered 'noir', this one does not focus on the police or criminals; but on a man attempting suicide and the attempts by the authorities to talk him out of it. The film reminded me a lot of the 1975 classic Dog Day Afternoon for it's portrayal of a media circus. The centre of the film is really very simple and most of the focus is on the lead character, meanwhile we learn more about him and watch the various attempts to stop him committing suicide. The film gets straight into its plot and we watch a man step out onto a hotel balcony. Somebody sees it and a local traffic cop makes the call to his higher ups. He also goes and sees the guy on the window ledge and has a little chat with him. More police and some doctors then turn up, but the man on the ledge insists he'll only talk to the traffic cop and so he's called back in to help the situation. The reasons for the attempted suicide are slowly unveiled; meanwhile we also get to see the reactions of the various people on the ground.The film is very well directed by Henry Hathaway, who manages to constantly ensure that his simple plot is constantly fascinating. The dialogue between the central characters is good, and the psychology presented by the various doctors is also interesting. Richard Basehart takes the lead role and manages to convince the audience that he's going to commit suicide; although he does constantly sound drunk. He has a good rapport with Paul Douglas, who 'befriends' him during the ordeal. The support cast includes the likes of Agnes Moorehead and Grace Kelly. The central plot is fleshed out by some smaller stories of the people on the ground, and the film portrays some good that comes of the central situation. This is an interesting idea, though it has to be said that the way it is portrayed feels somewhat pretentious. The film flows well throughout and the running time passes quickly up until the ending, which is really quite predictable; but still it works well. Overall, Fourteen Hours is an excellent thriller and comes highly recommended.

Richard Basehart was absolutely fabulous here as we feel his nervousness, his detachment from life, his hopelessness, and other problems.Paul Douglas, as the cop who Basehart is able to talk to, is great here. Ironically, in so many films Douglas always played the loud-mouthed person you could never count on to calm someone down.Agnes Moorehead gives a gem of a performance as the emotionally unbalanced, distraught mother. She blends into this performance a similarity to "Magnificent Ambersons" and can still be that holy terror as she displayed as Minnie in "Hush...Hush, Sweet Charlotte."The picture again deals with mob psychology with some people anxiously awaiting Basehart to take the fatal plunge.Sidebars include Jeffrey Hunter and Debra Paget, as a young couple who meet among the mob and Grace Kelly, about to divorce her husband before this drama gives her a new lease on life and she is willing to try to sustain the marriage.Barbara Bel Geddes appears briefly as Virginia, the girlfriend to Robert (Baseheart) She is effective here.Martin Gabel's role as the psychologist fascinated me. How could he judge so soon after a brief meeting what the Moorehead and Robert Keith characters were all about? That was a little too far-fetched.Overall, a gripping drama showcasing the living of life to its fullest.

"Fourteen Hours" is a tight and suspenseful film, generally extremely well done.But its cast is just crammed full with some of the greatest talent in motion picture history, and those players make this a must-see movie.It is strange, to me, that so many great actors, not necessarily big names, are not listed in the credits.Thank God for IMDb or those of us with faulty memories might not know for sure who those extraordinary performers are.I thought I recognized the very recognizable voice of Willard Waterman, but he is not given screen credit. Here at IMDb, though, that is corrected.And speaking of voices, George Putnam, for many decades an active and recognized television and radio voice, was also not given credit, although he did say his name as an on-the-scene TV reporter.The terribly under-rated Harvey Lembeck had a small part, with lines and everything, and still did not get screen credit.And wasn't that the prolific Louis Jean Heydt as one of the police officers? And he doesn't get listed even here.Oh, the list is a long one and few movies, of whatever epic size or fame, have ever presented such a magnificent cast.Even if there were any serious flaws, they would pale into insignificance because of the high quality of the cast.Added 19 June 2015: No, it was not Louis Jean Heydt. It was James Millican, and it is an embarrassment for me to continually confuse the two. I think they do sound alike, but it was an error I need to correct here.

1951 seemed to be a year for films depicting rescue of an individual in peril; there were three such films - ACE IN THE HOLE, THE WELL and of course, FOURTEEN HOURS. All three were very good films but I like the last mentioned best. The camera-work from several different perspectives is superb, the involvement of the onlookers just right and the rescue efforts looked quite realistic. I disagree with comments that some situations and characters were clichéd; many major cities did have beefy Irish-American beat cops in the early 50s and so Paul Douglas' character is perfectly acceptable. Likewise, the 'good ending' is not necessarily traditional; after all, the rescue attempt would have been in progress for hours and the police were pulling out all stops. The odd thing is that although the film is available on DVD, it remains relatively unknown even among connoisseurs of Film Noir.