What makes it different from others?

Absolutely amazing

It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

Competent but not extraordinary thriller is interesting for several elements. First it gives Pat Boone a chance to play a slightly less savory character than his candy coated image usually allowed. I'm not much of a fan of the actor but he does a good job as the initially self involved singer who is a neglectful husband and father but basically decent man who gets an unexpected wake-up call when his infant son is kidnapped. The script also presents a few instances for him to sing without disturbing the flow of the story.Barbara Eden, quite the knockout, was still a couple of years away from I Dream of Jeannie and working her way up the leading lady chain. Her role doesn't offer much opportunity outside frantic anguish but she handles the requirements well. Also on hand, though given little to do, is Jack Klugman as the police inspector on the case adding another solid portrayal to the film.As for the general story while it has several plot holes that stretch believability it is overall an enjoyably put together nail-biter. A real benefit comes from the effective and evocative musical score provided by Kenyon Hopkins. It adds a great deal of tension and snap to scenes that could have otherwise been flat.Not a long lost classic but an under-known worthwhile entertainment. Hard to find but if you happen upon it take the time to give it a chance.

Despite the five favorable commentaries submitted to this forum, "The Yellow Canary", the 1963 film that showed up on cable recently, it is not a good film. Evidently, it is a piece of nostalgia to those viewers that rated it so highly.It is surprising that someone of the stature of Rod Serling could produce such paper thin premise as the one used in the narrative. It is too obvious who the kidnapper is from the start, so it comes as a no-brainer how this person could fool Andy Paxton, the man at the center of the story, as well as the police that are called to help solve the case.The film shows a bland Pat Boone trying a dramatic role. Mr. Boone was a singer that had his popularity in the late 1950s, and early 1960s. As an actor, he was wise not to leave his daytime job. The direction of Buzz Kulik, a man that worked extensively on television, does not do anything out of the ordinary to stage the film in a different fashion that might have made a better movie. Barbara Eden's Lissa does not make much sense either. Steve Forrest is about the one that fares best. Others in supporting roles include the great Jesse White, Jack Klugman, and Harold Gould.The best thing is the crisp black and white photography by Floyd Crosby of the Los Angeles of that era. The jazzy musical score is by Kenyon Hopkins.

Pat Boone plays a popular male crooner (with the silly, generic name of Andy Paxton) who is callous to his estranged wife and indifferent to their baby boy, but who jumps into action once the infant is kidnapped for a ransom of 200 G's. Whether he's resisting police lieutenant Jack Klugman's help or comforting stressed spouse Barbara Eden, real-life vocalist Boone turns in a surprisingly strong performance; he handles the s.o.b. stuff at the beginning quite well, and his on-stage numbers are flawlessly rendered. Klugman and Eden are also solid, which is a good thing because the midsection of this melodrama is definitely not. Rod Serling, adapting Whit Masterson's novel "Evil Come, Evil Go", writes some crisp, crackling dialogue--but the trouble is, there's too much of it. Serling forgets that a heated crime scenario such as this has to flow with a little action. Things get bogged down once Boone suspects one of his entourage of the kidnapping, doing his own detective work in-between bouts of the bottle. When the tense climax finally arrives and one is filled with questions pertaining to motive...Serling suddenly clams up! The finale is satisfying only on the most basic of levels, with point and purpose left strangely unresolved. ** from ****

Though it has been well over 40 years since I saw "The Yellow Canary," my recollection is that it was a very good movie. What I specifically remember is a stand out performance by Pat Boone. So much so, I did not remember Barbara Eden's part in it. Boone spent most of his movie career in singing roles (e.g, State Fair) and/or more-or-less simplistic teen movies (e.g., "April Love," "Bernadine"). In this film, however, he provided a more than passable effort as a serious actor. It seems unfortunate he did not pursue more such roles, though he may have suffered from management that stifled his potential, much like happened to Elvis and Colonel Tom Parker's control of his career. It would be interesting to see the film today, and find out if the years have enhanced my memory or if, in fact, it's as good as I remember.