That was an excellent one.

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

It really made me laugh, but for some moments I was tearing up because I could relate so much.

By the time the dramatic fireworks start popping off, each one feels earned.

Paul Douglas and Richard Basehart carry the movie on their shoulders ;the movie has got the three unities: time,place and(almost) action :I write "almost" because two minor subplots(Grace Kelly's appointment and the Jeffrey Hunters/Debra Paget romance)are mostly filler.All that remains is excellent:the film continues the tradition of the Freudian movie which thrived in the precedent decade with Hitchcock,Lang ,Tourneur and Siodmak and the actors direction is first class ;Douglas and Basehart hold the audience breathless and there's no lull:considering the limitations there are working under in space and in time,it's a true tour De force ;the interventions are brilliant:Mrs Moorehead is an actress who makes all her scenes count;even the sometimes bland Bel Geddes can play her game well.Douglas ,when he suggest the suicidal young man go fishing with him,becomes a new father for him,just like Cooper and Tone were new fathers for Cromwell in "lives of a Bengal Lancer";in "souls at sea" there is another father/son relationship.I have always loved Henry Hathaway's movies,from "Peter Ibbetson" TO "kiss of death" , from" the trail of the lonesome pine" to " true grit" (1969)and from "Niagara" to "legend of the lost" ."14 hours" is to be ranked among his best.

FOURTEEN HOURS begins with Richard Basehart walking onto the ledge outside his hotel room. He's about to jump but can't quite bring himself to do it. A nearby cop (Paul Douglas) looks up and sees him on this ledge on the 15th floor and hurries over to the hotel to try to talk him out of jumping. Soon, his superiors come and relieve him--they'll work on trying to get Basehart down and Douglas simply isn't trained for this sort of thing. However, the so-called experts don't seem to get through to them, so they get Douglas back--after all, he had developed some rapport with the jumper. Soon, a series of family members are brought to help out, though in hindsight his mother (Agnes Moorehead) visiting was probably NOT the best idea. Does he jump or does he chose life? And, why in the first place did he decide to end it all? See for yourself to find out--you won't be sorry you did.This film has one of the simpler plots I can think of--yet it all seemed to work very well. This is because the film was written so very well and the actors managed to make the most of it--especially Douglas as a sort of "everyman" cop. Taut direction, excellent lighting and a first-class production all around sure helped. Who would have thought such a deceptively ordinary idea could be handled so well?

Henry Hathaway is the director of Fourteen Hours, which stars Richard Baseheart as Robert Cosick, the young man threatening to jump from a Manhattan skyscraper. Paul Douglas is police officer Charlie Dunnigan who discovers the man and tries to talk him into coming off the ledge. The drama and setting are enhanced by the massive crowd of onlookers who are attracted by the great media circus playing out. Douglas is supposed to be an older man but in fact was only seven years older than Baseheart, who at 37 played the role of a younger man. Douglas was a highly-competent supporting actor from the fifties who would have gone on to greater roles except for his death in 1959 at age 52. Other supporting actors are Agnes Moorehead as Mrs. Cosick (the mother), Robert Keith (the father), Grace Kelly, Jeffrey Hunter, Martin Gable, Barbara Bel Geddes (the girlfriend) and others. Baseheart was something of a Hollywood idol in his day and died after completing the narration for the opening ceremonies of the Los Angeles Olympics in 1984.The story captures the skyline of New York, its people and media as the drama gives an air of immediacy to the suspense of whether or not the man will jump from the building. There are a number of close calls as various characters try to persuade the young man to come in off the ledge. It is Saint Patrick's Day and people have gathered in the streets for the parade but find themselves watching the disturbed character high above them. Day becomes night and one couple fall in love during the viewing of the ordeal. We learn about the boy's history, his upbringing, the parents, and the girlfriend. The media show presents the young man as a sympathetic character with crowds warning him about the police as they move towards him overhead and women calling radio stations with proposals of marriage...a slice of New York at mid-century. The movie is still great entertainment today, if not quite up to the calibre of the movie The Naked City, made three years earlier.

It's been perhaps 15 years since I have seen this picture and despite the strong and competent cast of Hollywood favorites, it's Paul Douglas who carries this film on the strength of the sincerity and warmth he brings to his character.Paul Douglas was 42 years old, entering middle age, before he made his first film of any consequence in 1949.He came from a long career in radio as a very popular announcer at CBS in the 1930s and 1940s who was often the man at the mic for the Glenn Miller show for Chesterfield cigarettes. With Judy Holliday, he scored a major Broadway success in BORN YESTERDAY (though the film role went to Broderick Crawford). He was signed to a contract by 2oth Century-Fox and spent most of the next ten years successfully appearing in dramas, comedies, fantasies and even some science fiction before passing away prematurely in 1959.FOURTEEN HOURS is typical of the appeal he brought to his many films. It's based upon a true incident, though the film is opened up for the sake of the large and screen-worthy cast.Paul Douglas is a NYC cop pounding a beat who gets the call of a jumper on the 14th floor ledge of a downtown building. Once the experts appear, Douglas is sent back on the beat, but turns out the potential jumper doesn't want to talk to them. He wants to talk 'to that cop who was here before'. They find him, bring him back and the story continues from there.It's not a faultless film, but that doesn't matter. It's a great period piece and a showcase for Douglas.Excellent direction and camera work, including location shooting in a NYC long vanished.I recommend it without reservation.And cheers for Paul Douglas who has never gotten the acclaim he deserves.