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Comparing classic cinema to contemporary films isn’t entirely fair because today’s movie landscape is saturated with superhero and fantasy heroes, as well as impressive advancements in the horror genre. However, this leaves little room for well-crafted thrillers in theaters. Occasionally, some significant thrillers do break through, like “Parasite,” “Oldboy,” and “Memento.” What sets these films apart is their ability to let the action unfold at a deliberate pace.
Questions like “Is that the same person we saw earlier?” and “We didn’t witness her death; did she really die?” should be running through the viewer’s mind halfway through a compelling thriller. An ending is an ending, but when a filmmaker skillfully guides the audience into feeling like they’ve earned something, the ending becomes a shocking revelation. This is the sensation we’re searching for when we watch these movies.
While you might not be familiar with every film on the list, each one is worth its weight in suspense. Beware, nail-biters: these are the 20 classic thrillers that take their time.
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20 Classic Thrillers That Really Take Their Time
Thief (1981)
James Caan exudes a captivating charisma that can easily be compared to the likes of James Dean and Ryan Gosling. His innate sense of coolness is evident in his fashion, demeanor, and iconic sunglasses. The cool color scheme of grays and blues in his style sets the tone for subsequent Michael Mann films like Miami Vice and Heat.
His famous line, “I am the last guy in the world that you wanna f*** with,” underscores his tough and fearless persona. However, beneath that exterior, Caan’s characters reveal a deep vulnerability that tugs at the heartstrings, injecting a powerful sense of pathos into his roles. In Thief, his dedication to his craft combines the meticulous cinematic style of Jean-Pierre Melville with a distinct American flair.
The film’s opening scene, a seven-minute safe-cracking sequence, immediately signals that this is not your run-of-the-mill thriller. As the story unfolds and Caan’s character faces off against the Chicago mob he’s been trying to leave behind, you can’t help but wish there was more of this captivating movie to savor.
Taxi Driver (1976)
Travis Bickle in “Taxi Driver” can be considered alongside Scarface as one of cinema’s complex and misunderstood anti-heroes. Nonetheless, the film stands out due to its adherence to a three-act structure, unfolding like a well-choreographed ballet.
It’s important to note that in 1976, Martin Scorsese wasn’t the polished, high-budget filmmaker he is today. “Taxi Driver” has more in common with “Mean Streets” than “Goodfellas,” being gritty, dialogue-heavy, and somewhat off-putting. The movie features several morally repugnant characters, and viewers must grapple with this for a significant portion of the film’s duration. Even as you eagerly await the film’s conclusion, it’s an overly cathartic experience, as the protagonist adopts a villainous approach to achieve his objectives. Travis was a killer from the beginning; we just happen to delve into his psyche before he commits any murders.
Dressed to Kill (1980)
“Dressed to Kill exudes sensuality and tension, particularly in the hotel room scene with Angie Dickinson, where even the alarm clock seems exposed. Brian De Palma’s film initiates its exploration of the complex dynamics of human attraction with a slow, Hitchcock-like approach, allowing the story to unfold gradually and drawing viewers into the characters before subjecting them to unexpected acts of violence. The violence is delivered with a theatrical flair, reminiscent of Hitchcock’s work, and the film could easily have featured actresses like Tippi Hedren or Eva Marie Saint. It serves as an excellent example of female heroism emerging from surprising sources. The movie is both provocative and enigmatic, steadily building like an avalanche until its unsettling conclusion leaves the audience in a state of shock.”
Rear Window (1954)
“Rear Window” marked the start of Alfred Hitchcock’s rise to fame, reaching a wide audience beyond just film enthusiasts. It’s a film characterized by the all-seeing camera that explores the neighborhood without being overly grandiose. The relatable protagonist, Jimmy Stewart, gradually descends into madness as he’s confined to a wheelchair by his apartment window for the entire summer. He becomes an inadvertent witness to a dramatic story unfolding among his neighbors on their fire escapes and in their open windows. Despite his efforts to alert others, he’s unable to convince anyone of the impending danger, leaving him feeling helpless and isolated.
The film’s gripping climax is so intense that even the comedic parody of it on “The Simpsons” retains a sense of fear.
Belle de Jour (1967)
Step aside, Fatal Attraction, because if you’re in the market for another drama that would make you squirm if you watched it with your parents, look no further than Belle de Jour. What’s amusing is that it hails from the same time as your folks.
Released in 1967, Belle de Jour undeniably demonstrates that every generation of young adults didn’t invent risqué sex. Catherine Deneuve, who had previously starred in the family-friendly favorite The Umbrellas of Cherbourg, made a surprising choice to collaborate with the renowned Spanish-born arthouse provocateur Luis Buñuel. Frustrated in her marriage and unable to reach the levels of sexual satisfaction she believes are possible, she starts indulging in fantasies involving bondage and sadomasochism. As she grapples with her own past and childhood trauma, she ventures into working in a brothel, but only during the afternoons, maintaining the facade of her privileged everyday life. The story unfolds in this manner, as we witness her encounters with a variety of clients. Yet, one particular encounter becomes perilous, endangering both her emotional and physical well-being.
The film’s conclusion is nothing short of shocking. However, amid Catherine Deneuve’s fantasies and Luis Buñuel’s surrealist touches, so much transpires in such a way that you begin to question whether any of it actually took place.
Dead Presidents (1995)
“Dead Presidents” provides a before-and-after glimpse into the life of a Black American marine veteran of the Vietnam War. By the 1980s, Vietnam veterans were starting to share their stories, with notable examples like Oliver Stone, whose film “Platoon” drew from his experiences as an infantryman. However, narratives that merged the Black experience with being a Vietnam veteran were less common. In 1995, the Hughes Brothers, known for their work on Tupac’s music videos and for writing and directing “Menace II Society,” decided to adapt the book “Bloods: An Oral History of the Vietnam War by Black Veterans.”
Anthony Curtis, despite enduring harrowing and life-altering ordeals in Vietnam, including encounters with hostile forces from his own side, intends to return to the Bronx and the life and friends he left behind. Struggling to make ends meet, he becomes radicalized by a paramilitary political group and joins them in an armored car heist. The scene is distinctive, marked by iconic makeup, but the tension arises from the desperate circumstances of the perpetrators.
Bullitt (1968)
“Bullitt,” released in 1968, initially proceeds at a deliberate pace, akin to a Ford Mustang in a lower gear, emitting a constant growl. The film exudes a sense of potential energy and strength but repeatedly navigates corners, engaging in a cat-and-mouse game, expressing frustration each time it decelerates. However, it suddenly accelerates, gripping the viewer’s attention, revving up like a muscle car with a terrifying screech.
Perhaps this description is more suited for the film’s iconic car chase scene than the overall storyline, but it’s fitting. The movie anticipates the gritty noir and morally ambiguous themes of the 1970s while still reflecting the robust energy of the 1960s. Detective Frank Bullitt serves as a more intellectual counterpart to Dirty Harry, and he transforms Steve McQueen into an American icon, akin to how Alain Delon was considered the epitome of cool in French cinema.
Cape Fear (1962)
Robert Mitchum portrays Max Cady, an ex-convict seeking revenge against Bowden, the lawyer he blames for his imprisonment. With his deep voice and charming yet menacing demeanor, Cady spends most of the film stalking Bowden and threatening his family.
“I have something planned for your wife and child that they will never forget. You won’t forget it either, Counselor! Never!”
Cady is cunning, ruthless, and, most importantly, incredibly patient. He begins by encroaching on the edges of Bowden’s life, playing a disturbing psychological game, relishing the moments when Bowden is vulnerable and frightened. He embodies the archetype of a classic villain, and his character sets the tone for the movie. While much of the story suggests a plausible and convincing antagonist, it’s the violent and emotionally charged climax that unfolds on a houseboat off Cape Fear that makes us hope there are no real-life counterparts to such a character.
In the Heat of the Night (1967)
Casting Sidney Poitier as the lead detective and central character in “In the Heat of the Night” significantly elevated its importance in the context of the African American civil rights movement. The intelligence and astuteness of Poitier’s character, Mr. Tibbs, are what truly stand out in this gripping story.
Initially, Mr. Tibbs is wrongfully arrested by the racially biased police force of a small Mississippi town. As a visiting homicide detective from Philadelphia, he is assigned to assist in solving the very murder for which he was falsely accused. Throughout the film, he methodically unravels the mystery with a strong commitment to truth, all while confronting a deeply unjust system that puts his life in danger.
The film delves into the characters’ interactions, featuring extensive dialogues as they employ deductive reasoning to solve the case. This is what makes the movie so captivating and intense. While the story works hard to earn it, it ultimately delivers a surprisingly optimistic conclusion.
Silence of the Lambs (1991)
The essence of “The Silence of the Lambs” lies in its core as a detective mystery. The film boasts rich character development, outstanding performances, thrilling action sequences, and not one but two of the most unsettling antagonists in cinematic history (technically, Hannibal Lecter can be seen as an anti-hero). However, it’s also like unwinding a tangled ball of yarn, taking us on a journey across the country, chasing false leads and minor clues in the pursuit of a kidnapper whose most recent high-profile victim might still be alive.
The climactic scene, where rookie FBI agent Clarice Starling tracks serial killer Buffalo Bill into a completely dark basement, engages our senses and proves even more unsettling than Hannibal Lecter’s earlier act of cannibalism, which occurred just half an hour prior.
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Double Indemnity (1944)
Penned by the renowned author of mystery novels, Raymond Chandler, best recognized for his creation of Philip Marlowe – a character brought to life by numerous actors from Humphrey Bogart to Elliott Gould. However, “Double Indemnity” diverges from Chandler’s typical narratives, focusing on a rather ordinary insurance salesman named Walter Neff, situated in 1930s Los Angeles.
The story begins with a gunshot-wounded Neff stumbling into his office, foreshadowing a gripping conclusion. Neff proceeds to recount his confession, delivered in a flashback, primarily to a dictaphone and eventually to his friend and colleague, Barton Keyes. The film employs the classic cinematic elements of dark shadows and a traditional score to maintain the story’s mood. Within the narrative, Neff concocts a murder plot involving the wife of a wealthy insurance policyholder.
Like a hand of poker in a high-stakes game, each new development in the story introduces fresh characters and alters the dynamics among them. The plot unfolds slowly, brimming with tension, animosity, and treachery. Although the tragic outcome is known from the outset, one can’t help but wonder how the characters reached such a grim conclusion. “Double Indemnity” stands as one of Billy Wilder’s most exceptional cinematic creations and serves as a quintessential example of genuine film noir.
Presumed Innocent (1990)
Alan J. Pakula, an often underappreciated genius of the thriller genre, stands out as a director with two notable entries on this list, a feat previously achieved only by Alfred Hitchcock.
“Presumed Innocent” marked a turning point for Harrison Ford, showcasing his versatility as an actor beyond his well-known blockbuster roles like Han Solo and Indiana Jones. In this era, his performances in movies like “The Mosquito Coast” and “Regarding Henry” tend to be overshadowed, but they reveal his depth as a leading man, reminiscent of actors like Robert Redford and Brad Pitt.
The film revolves around attorney Rusty Sabich, who faces accusations of murdering his colleague and former lover, Carolyn. Sabich leverages his legal expertise and knowledge of the justice system to navigate his defense, but not without significant personal and professional costs. The narrative unfolds with a blend of street-level drama and courtroom scenes, as Sabich fights for his freedom while grieving the loss of his past romance. However, it’s in the film’s gripping climax that he learns the true nature of the crime, leading to the shattering realization of his worst fears and a profound sense of guilt and remorse that hardens his heart.
The Third Man (1949)
Graham Greene, a renowned English author best known for his exploration of colonialism in Vietnam through “The Quiet American,” originally conceived a Vienna-based murder mystery. He was inspired by his tour of the city’s less savory areas, including its sewer system, which ultimately played a significant role in his story, later adapted into the film “The Third Man.”
The story revolves around an American author named Holly Martins, who, upon discovering the death of his friend and benefactor Harry Lime, embarks on a quest to locate the elusive third witness who saw Harry being struck and killed by a car. In his pursuit, Martins experiences a series of events that involve love, run-ins with the law, engagement in an underground black market, and eventual loss of everything he holds dear.
This narrative weaves elements of classic 1940s pulp dramas with an international flair, akin to a John Le Carré novel. The performance of a young Orson Welles as Harry Lime is considered among his finest acting work, and the film’s expressionist cinematography has left a lasting influence on various movies, from “Harry Potter” to “The Departed.”
Marathon Man (1976)
Some of the most powerful and emotionally devastating tragedies in cinema history revolve around the Holocaust, such as “Schindler’s List” and “Cabaret.” One of these compelling films is the intricate thriller “Marathon Man,” penned by the renowned screenwriter William Goldman.
This movie delves into international intrigue when a track runner named Babe discovers that his brother is a covert government agent. The story revolves around stolen Holocaust diamonds, a sinister Nazi concentration camp dentist, espionage, torture, and the presence of double agents. The narrative builds a formidable tower of tension and drama, ultimately collapsing in a harrowing third act when a survivor identifies a war criminal on the streets. The film is a gritty and intense drama that harks back to a time when movies were primarily aimed at adult audiences.
“I recognize you!”
Similar to “Schindler’s List,” “Marathon Man” has left a lasting impact and is even parodied in an episode of the popular TV series Seinfeld, a testament to its status as a classic.
Vertigo (1958)
“Vertigo,” released in 1958 during the peak of Alfred Hitchcock’s career, once again featured the affable Jimmy Stewart as San Francisco detective Scottie Ferguson. Hitchcock’s brilliance as a filmmaker lies in his ability to use the camera to meticulously convey his intended message. This might seem straightforward, but when crafting a tale involving a fabricated death, suppressed fears, and obsessive love, every frame requires close scrutiny.
Kim Novak delivers a standout performance as the vulnerable woman with a hidden agenda, and the enigmatic dynamics between the two leads, along with a groundbreaking nightmare sequence, invite intricate themes and diverse interpretations. In the realm of suspenseful mysteries, “Vertigo” stands as Hitchcock’s magnum opus.
All The President’s Men (1976)
It’s truly astonishing that a movie of such high quality was released just two years after President Nixon’s resignation. Typically, screenwriters find the most success when they delve into political drama with historical context and leave current events to journalists. What makes “All the President’s Men” so brilliant is that it’s a film centered on these very journalists.
In this film, you have the combination of the anxious Dustin Hoffman and the relentless truth-seeker Robert Redford portraying the young reporters, Woodward and Bernstein. They trusted their instincts, even at the risk of damaging their reputations and careers, and ultimately became history-makers.
Unlike many other films, “All the President’s Men” doesn’t end with explosions, bloodshed, or violence. Similar to David Fincher’s “Zodiac” many years later, upon first viewing, it might feel somewhat empty, like a suspenseful story without a grand climax. The real bombshell here is Nixon’s downfall.
The movie boasts outstanding supporting performances from some of the finest character actors in the industry, including Jason Robards, Hal Holbrook, Jack Warden, and Jane Alexander. Jason Robards even won an Oscar for Best Supporting Actor, and William Goldman was recognized with an Oscar for Adapted Screenplay. The cinematography beautifully captures the essence of the plot by employing straightforward camera work and deliberate zooms to underscore the hard work put into the investigation.
The Postman Always Rings Twice (1946)
“The Postman Always Rings Twice” is a timeless film that, much like classics such as “A Star is Born” or “Annie,” has been remade multiple times. It’s a sensuous thriller centered around a man and a woman who are deeply in love but unable to be together. To overcome this obstacle, they hatch a plan to murder her husband and run away with his money. The story unfolds over several months at a roadside rest stop on the way to 1940s Los Angeles. Frank, a wandering drifter, secures a job at the Diner, which is owned by the older Rick. The stunning Lana Turner plays Cora, Rick’s young wife, and her allure leads to a passionate affair with Frank.
The film’s slow-moving second act is characterized by financial negotiations, failed attempts, doubts, and eventual betrayal. It’s the mundane preparations for life after the murder that make this part of the story quite tedious. However, when the tumultuous third act finally arrives, it’s devastating for all the characters involved. It’s a true tragedy, and no one emerges from it unscathed. This juxtaposition of a tense middle with a brutal ending is a stroke of genius. If we were to compare it to a piece of music, it would be akin to a symphony.
The Conversation (1974)
“The Conversation,” in which a surveillance expert’s moral dilemma interferes with his work, is a delight for audiophiles. Interestingly, despite being nominated, it lost the Oscar for Best Sound to the disaster-themed film “Earthquake.”
Gene Hackman delivers a captivating and unusual performance as Harry Caul, a man haunted by the murder of people he once spied on through audio surveillance. On a new assignment, after deciphering their conversation, he records a couple in San Francisco’s Union Square and becomes concerned that they might meet a similar grim fate. This meticulously paced masterpiece relies heavily on audio cues to reveal its secrets, and every sound contributes to the final mix. It’s undeniably one of the prime examples of gritty 1970s spy noir, directed by the legendary filmmaker Francis Ford Coppola.
Le Cercle Rouge (1970)
If you’re a fan of the works of Michael Mann, David Fincher, or Martin Scorsese, then you should definitely explore the films of Jean-Pierre Melville. These esteemed directors, along with many others who craft suspenseful stories, have drawn inspiration from this master of French New Wave cinema.
“Le Cercle Rouge” unfolds with a deliberate and suspenseful pacing, reminiscent of a rubber-band-powered toy airplane in circular motion. The narrative revolves around three criminals brought together for a jewel heist, each with their unique backgrounds, such as struggles with alcoholism, a history of imprisonment, or even a connection to law enforcement.
One of the most iconic scenes in the film is the heist itself, which pays homage to a similar technique used in the classic French crime film “Rififi.” This scene features an extended period with minimal to no sound, immersing the audience in the ambiance of the moment for over twenty minutes, creating a deafening and intense experience. In true Melville fashion, the meticulous execution of seemingly mundane tasks is presented in real-time, from cutting glass to tying up guards and disarming alarms. The success of the heist relies on a myriad of precise details falling into place, and the characters in the film possess a deep understanding of these intricacies. As the scene unfolds, you find yourself anxiously hoping for their escape, but this relief is only temporary.
Chinatown (1974)
“Its Chinatown” is often cited as one of the greatest screenplays ever, known for its intricate and progressively complex storyline. Starting as a seemingly inconsequential surveillance job for private detective Jake Gittes, it unravels into a web of powerful interests, involving wealthy old-money families and politicians. The narrative is so convoluted that keeping up with it feels like grasping a slippery eel. The enchanting ingénue, portrayed brilliantly by Faye Dunaway in her prime, takes center stage in a crime tragedy of its era, with the most shocking revelation saved for the climax after a series of disturbing events has already been set in motion.
Even if it had concluded differently, it would still have been a remarkable film, but it’s the last ten minutes that elevate it to classic status.
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