Cape Fear is a 1962 American southern gothic psychological thriller film directed by J. Lee Thompson, from a screenplay by James R. Webb, adapting the 1957 novel The Executioners by John D. MacDonald. It stars Gregory Peck as Sam Bowden, an attorney and family man who is stalked by a violent psychopath and ex-con named Max Cady (played by Robert Mitchum), who is bent on revenge for Bowden's role in his conviction eight years prior. The film co-stars Polly Bergen and features Lori Martin, Martin Balsam, Jack Kruschen, Telly Savalas, and Barrie Chase in supporting roles.

Produced by Peck's company Melville Productions and distributed by Universal Pictures, the film includes several key cast and crew who had previously worked with director Alfred Hitchcock, including editor George Tomasini and composer Bernard Herrmann. J. Lee Thompson's direction was also strongly influenced by Hitchcock.

The film was released on June 15, 1962. It received positive reviews from critics, who highlighted Peck and Mitchum's performances. A remake of the same name was released in 1991, directed by Martin Scorsese and starring Nick Nolte and Robert De Niro in the lead roles. Peck, Mitchum, and Balsam all appeared as different characters in the remake.Kirsten Thompson, Cape Fear and Trembling: Familial Dread; In Literature and Film: A Guide to the Theory and Practice of Film Adaptation, Edited by Robert Stam, Alessandra Raengo, Blackwell Publishing, 2005, ISBN 0631230556 (pp.126-147)

Plot In Southeast Georgia, Max Cady is released from prison after serving an eight-year sentence for rape. He promptly tracks down Sam Bowden, an attorney whom he holds personally responsible for his conviction because Bowden interrupted his attack and testified against him. Cady begins to stalk and subtly threaten Bowden’s family, including his wife, Peggy, and 14-year-old daughter, Nancy. He kills the family dog, though Bowden cannot prove that Cady did it. Police chief Mark Dutton has his officers harass Cady, but when Cady retains an attorney and threatens to sue the department, he tells Bowden that nothing more can be done without proof of a crime.

Bowden hires private investigator Charlie Sievers, who tracks down a girl named Diane Taylor whom Cady had raped and beaten. Fearing public humiliation, Taylor refuses Bowden's plea to file charges against Cady and skips town. While Nancy is waiting in a car one day, Cady appears and frightens her; Nancy runs into traffic and is nearly killed. After failing to bribe Cady to leave town, Bowden hires three men to beat Cady, but the latter turns the tables and forces one of the men to confess Bowden's actions to the police. Cady's attorney has Bowden's law license suspended and applies to have him disbarred.

Fearing for Peggy's and Nancy's safety, Bowden takes them to their houseboat and cabin in the Cape Fear region of North Carolina. He then pretends to fly to Atlanta for his disbarment hearing, while Sievers lures Cady to the boat where Bowden is waiting in secret with a gun and a county deputy, Kersek. Cady sneaks undetected onto the riverbed and drowns Kersek. Eluding Bowden and setting the houseboat adrift down the current, Cady assaults Peggy and draws Bowden in to save her before jumping ashore to rape Nancy. Bowden realizes what has happened and also swims ashore.

The two men engage in a final fight on the riverbank. Bowden manages to retrieve his gun, which he had dropped, and shoots Cady, wounding and incapacitating him. Cady tells Bowden to “go ahead” and kill him, but Bowden decides to do what Cady earlier told him would be unbearable — put him in prison for the rest of his life, to “count the years, the months, the hours until the day you rot.” In the morning light, the Bowden family are together on a boat, heading safely downriver with police.

Cast

Production Development Cornel Wilde acquired the rights to John D. MacDonald's novel The Executioners for $30,000 in 1958. Gregory Peck had his own production company, Melville Productions, in partnership with Sy Bartlett, which had made The Big Country and Pork Chop Hill and they later purchased the rights. They planned to make it after The Guns of Navarone. Peck was impressed by J. Lee Thompson's work on that film and hired him for Cape Fear.PECK'S FILM FIRM PLANS 3 PROJECTS: Star and Sy Bartlett List 2 Comedies and Drama -- 'Apartment' Here Today By HOWARD THOMPSON. New York Times June 15, 1960: 50. Peck said his goal was to make "first class professional entertainment intelligently done."Peck Wants to Make Film Classic: PECK FILM Hyams, Joe. Los Angeles Times April 15, 1961: A6. He was responsible for the title of the film, as he found the novel title "kind of a turn-off" and happened to find the Cape Fear region when looking for Atlantic coast locations.

Casting Telly Savalas was screen tested for the role, but later played private eye Charlie Sievers.p.283 Chibnall, Steve J. Lee Thompson Manchester University Press, 2000 Robert Mitchum refused to play Max Cady when he was first offered the part, but eventually accepted it after Peck and Thompson delivered him flowers and a case of bourbon.

Thompson wanted Hayley Mills, whom he had cast in Tiger Bay, to play the daughter, but Mills was unavailable.

Polly Bergen signed in December 1960. It was her first film in eight years.GABLE'S LAST FILM SLATED HERE FEB.1: 'Misfits' Is Due at Capitol -- 3 Other Premieres Set -- Hudson, Doris Day Cited By HOWARD THOMPSON. New York Times December 31, 1960: 10.

In addition, Edward Platt, the future "Chief" on the television series Get Smart, and November 1958 Playboy Playmate centerfold Joan Staley make brief appearances as a judge and a waitress, respectively.

Filming Principal photography of Cape Fear began on April 6 and ended in June 1961. Thompson envisioned the film in black and white, believing that shooting the film in color would lessen the atmosphere. As an Alfred Hitchcock fan, he wanted to have Hitchcockian elements in the film, such as unusual lighting angles, an eerie musical score, closeups, and subtle hints rather than graphic depictions of the violence Cady has in mind for the family. Hitchcock collaborators Robert F. Boyle and George Tomasini served as production designer and editor, and his regular composer Bernard Herrmann wrote the score.

The outdoor scenes were filmed on location in Savannah, Georgia; Stockton, California; and the Universal Studios backlot at Universal City, California. The indoor scenes were done at Universal Studios Soundstage. Mitchum had a real-life aversion to Savannah, where as a teenager, he had been charged with vagrancy and put on a chain gang. This resulted in a number of the outdoor scenes being shot at Ladd's Marina in Stockton, including the culminating conflict on the houseboat at the end of the movie.

The scene in which Mitchum attacks Polly Bergen's character on the houseboat was almost completely improvised. Before the scene was filmed, Thompson suddenly told a crew member: "Bring me a dish of eggs!" Mitchum's rubbing the eggs on Bergen was not scripted and Bergen's reactions were real. She also suffered back injuries from being knocked around so much. She felt the impact of the "attack" for days. While filming the scene, Mitchum cut open his hand, leading Bergen to recall: "his hand was covered in blood, my back was covered in blood. We just kept going, caught up in the scene. They came over and physically stopped us."

In the source novel The Executioners, by John D. MacDonald, Cady was a soldier court-martialed and convicted on then Lieutenant Bowden's testimony for the brutal rape of a 14-year-old girl. The censors stepped in, banned the use of the word "rape", and stated that depicting Cady as a soldier reflected adversely on U.S. military personnel.

Music Bernard Herrmann, as often in his scores, uses a reduced version of the symphony orchestra. Here, other than a 46-piece string section (slightly larger than usual for film scores), he adds four flutes (doubling on two piccolos, two alto flutes in G, and two bass flutes in C) and eight French horns. No use is made of further wind instruments or percussion.Bill Wrobel: Cape Fear, score rundown analysis

In his 2002 book A Heart at Fire's Center: The Life and Music of Bernard Herrmann, Stephen C. Smith writes: "Yet Herrmann was perfect for Cape Fear ... Herrmann's score reinforces Cape Fear's savagery. Mainly a synthesis of past devices, its power comes from their imaginative application and another ingenious orchestration ... a rehearsal for his similar orchestration on Hitchcock's Torn Curtain in 1966. Like similar 'psychological' Herrmann scores, dissonant string combinations suggest the workings of a killer's mind (most startlingly in a queasy device for cello and bass viols as Cadey prepares to attack the prostitute). Hermann's prelude searingly establishes the dramatic conflict: descending and ascending chromatic voices move slowly towards each other from their opposite registers, finally crossing–just as Boden and Cadey's game of cat-and-mouse will end in deadly confrontation."

Release Censorship Although the word "rape" was entirely removed from the script before shooting, the film still enraged the censors, who worried that "there was a continuous threat of sexual assault on a child." To accept the film, British censors required extensive editing and deleting of specific scenes.Why Cape Fear can't go on Author: Cecil Wilson Date: Thursday, May 3, 1962, Publication: Daily Mail p 6

After making around 6 minutes of cuts, the film still nearly garnered a British X rating (meaning at the time, "Suitable for those aged 18 and older", not necessarily meaning there was sexually explicit or violent content).Film chief censors Our 'Erb Author: Barry Norman Date: Wednesday, June 13, 1962, Publication: Daily Mail p 3 Thompson said he had to make 161 cuts; the censor argued it was fifteen main cuts but admitted they took 5 minutes. The censor said this was primarily because the film involved threat of sexual assault against a child.Why we cut Cape Fear—by the film censors Author: Barry Norman Date: Friday, June 22, 1962, Publication: Daily Mail p 3

Critical response Upon its release, the film received positive but cautious feedback from critics due to the film's content.

Bosley Crowther of The New York Times praised the "tough, tight script", as well as the film's "steady and starkly sinister style." He went on to conclude his review by saying, "this is really one of those shockers that provokes disgust and regret." The entertainment-trade magazine Variety reviewed the film as "competent and visually polished", while commenting on Mitchum's performance as a "menacing omnipresence."

Home media Cape Fear was first made available on VHS on March 1, 1992. On May 14, 1992, it was released on laserdisc. It was later re-released on VHS, as well as DVD, on September 18, 2001. The film was released onto Blu-ray on January 8, 2013. It contains production photos and a "making-of" featurette.

Remake A remake of the same name was released in 1991, attributing both MacDonald's novel and Webb's 1962 screenplay as source material. Directed by Martin Scorsese and written by Wesley Strick, the film stars Nick Nolte as Bowden, Robert De Niro as Cady, Jessica Lange as Bowden's wife (renamed 'Leigh') and Juliette Lewis as his daughter (renamed 'Danielle').

Gregory Peck, Robert Mitchum, and Martin Balsam all make cameo appearances, and Bernard Herrmann's original score was adapted and re-orchestrated by Elmer Bernstein.

The film makes several notable changes to the story, namely by changing Sam Bowden to Cady's former defense attorney, who secretly and deliberately sabotaged his client's case to ensure a conviction. Cady dies during the film's climax, after the houseboat sinks. The remake also combines Charlie Sievers and Deputy Kersek into a single character, Claude Kersek (played by Joe Don Baker).

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