When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

Good films always raise compelling questions, whether the format is fiction or documentary fact.

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

The acting in this movie is really good.

This is a strange Low-Budget, well Cast Thriller and is a first time Directorial effort from Cornel Wilde. It is the claustrophobic first half that works best as tensions mount and identities are revealed. As things open up later, in the snowy outdoors, it turns rather routine as its limitations are exposed.There is an attempt at some unusual Family situations that adds some verisimilitude and in Film-Noir tradition all the Characters are flawed. If things were kept indoors the tension would be almost unbearable, but as it is, the last third seems more like typical Hollywood.Although the Child is central to the Plot and is crucial to the Theme of things gone wrong and regretful behavior, it is ironically left to the Pre-Teen to carry the emotional baggage at the end and it doesn't quite come off as a satisfying closing to the Family Circle. Certainly worth a view because it is a bit different, but the final Act is just too pat and seems a lot less believable than what went before.

Another of the 'home invasion' dramas so popular at the time, except with a twist. Here the fleeing criminals (bank robbers) invade the secluded mountain home of one (Wilde) of the robbers' old sweeties (Wallace) now married to a failed writer (Duryea) with an adolescent son (Stollery). Naturally, in these cramped quarters with a blizzard outside, emotions bubble over, especially with the consumptive, jealous Duryea, plus the unstable gunman Steven Hill. These are promising elements but the drama really fails to gel, because Wilde is too nice to project real menace, while the real menace, Hill, is never given the kind of emotional close- ups that would establish his danger. Instead, he just sort of prowls around in the background. Actually, the movie's mainly about the burgeoning Wilde-Stollery relationship, where you have to read between the lines about the actual source of the dog collar. Then too, it's Stollery stealing the movie in a poignantly shaded performance, while Wilde unwisely spends too much time showing off his manly chest.The second half moves to the great outdoors, where the gang tries to escape the approaching cops by fleeing over the snowy mountains. Here we get some suspense as the figures are reduced to little dots on a great white landscape. Now they're struggling not only with each other, but with an overwhelming nature. This part plays out in fairly effective fashion, though I never did figure out what exactly the errant snowplow was doing on an anonymous mountainside.All in all, it's an uneven, sometimes awkwardly filmed movie, whose chief virtue may be what it doesn't tell the audience about the relationships instead of what it does. And kudos to producer Wilde for giving the blacklisted Lee Grant a minor part as the gang's moll, at a time when the best this fine actress could get is TV walk-ons. My guess is Wilde took on too much for a first-time filmmaker (director-producer-star) and would have been advised to hire an accomplished director. But then this was a low-budget effort, (the interiors were filmed in a TV studio!). Wilde's real filmmaking talent would show up later in the acclaimed Naked Prey (1966), so I guess this was something of a learning experience.

Gangster Cornell Wilde and his small-minded sidekick Adam Schiff -- I mean Steven Hill -- show up unexpectedly with a bag of loot at the remote farm house of his big brother, the failed writer Dan Duryea, and his blond hausfrau Jean Wallace. Their child, David Stollery, is a witness to the conflicts, arguments, violence, deaths, and general mishigas that takes place during the visit. Dennis Weaver has a small part as the good neighbor.The screenplay was by Horton Foote, the direction by Wilde, and the cast and crew professionally competent, with some exceptions. The result is almost a stage play in which fierce disagreements take place.Wilde does adequately by the part of the tough guy who genuinely doesn't want to intrude but has no place else to go because the police are all over the place searching for him and his buddy. He adds an almost indiscernible stutter to his voice in moments of stress. Nothing is made of it. It's just a nice touch that makes him human. He has a couple of shirtless scenes during which his wounds are treated by Wallace and I hated him for that. How can he be so muscular and sound at the age of forty-three? The swine.Jean Wallace is not much of an actress but she looks as if she would be perfectly at home milking cows on a Polish włość. I hope you appreciate that Polish word. It means "small farm." Took me half an hour to find the proper alphabet. Dan Duryea -- well, we missed his slick-backed hair and straw boater and his whining voice and his slapping dames around. Here, he's a fagged out lunger wrapped up in sweaters and scarves and looking as if the North Korean Army had just marched over him. Steven Hill is unrecognizable except as the stereotype he is. And as for the kid, kids will be kids. Everybody loves them, except Hill.Overall it's pretty depressing. It's claustrophobic. It resembles a staged play in which the set dresser was drunk all the time. And the story, for all its shouting, is a little weak in humanity. (See "Hud" for a successful example of how to make a movie about a couple of people on a ranch.) Poor Dan Duryea freezes in the snow. It's not quite certain exactly where his body is found, through either careless direction or editing. But if I were despondent and depressed, a total failure -- and I AM -- I think I'd hang myself if I had to live in a seedy dump like that.

The outdoor scenes in Storm Fear were filmed near Sun Valley, Idaho. A local fellow named Eddie Bennett donned a fur coat and a blonde wig, and played "Edna" when she was pushed off the rock formation (which is located about 3/4 of the way from Ketchum NW to Galena Lodge). Eddie later gave the wig to my father, who gave it to me. Mr. Wilde was kind to a young girl eager to become a writer, and gave me one of the working scripts of Storm Fear. My little sister and I (in our serious moments) read the lines and acted out the script very seriously. In our silly moments, we took turns wearing the wig while the other shouted "Die, Edna, die!" and pushed "Edna" off the roof of our grandparents' house into deep snow.