Too much of everything

A lot of fun.

Although it has its amusing moments, in eneral the plot does not convince.

The acting is good, and the firecracker script has some excellent ideas.

Adaptation of Joseph Hayes' book about a "buffoon" who survives a horrible car crash but with amnesia; he's unsure of his wealth and position, which his wife's elderly aunt is happy to fill him in on (she acts like a scorecard for the confused man, as well as the audience). Turns out he's a wealthy, ruthless boozer who holds the financial fate of most of the city's residents in his hands, being the owner of the local factory that he's considering selling off. He also had a woman in the car with him the day he drove off a mountain road, and if she dies he could be tried for homicide. Well-dressed but corny melodrama tries too hard to raise chills, such as when George Peppard sees something that jars his memory and Percy Faith's overly-fancy music swells up on the soundtrack like in a Hitchcock thriller. Roddy McDowall steals scenes as a nefarious relative (he's such a brittle prig, you half expect him to crack after Elizabeth Ashley slaps him), Sally Kellerman debuts in a showy flashback role, and Arte Johnson (pre-"Laugh-In") surprises with a serious performance as an unbalanced lounge pianist. The plot is slackly-handled by director Jack Smight. Under better circumstances, this might have been an exciting potboiler; as it is, the film's posh décor upstages the dull, soapy contrivances. *1/2 from ****

The Third Day is a good film, with good actors. But the reviewers seem not to have seen the movie. All assume that Roddy McDowall plays the brother of the Peppard character. Quite a trick, since Peppard plays the only main character not of the wealthy Parsons family. Who is Oliver Parsons, the character played by Roddy McDowall? He is the first cousin of Elizabeth Ashley's character, herself the only child of the Parsons patriarch (Herbert Marshall). Oliver's father is the deceased younger brother of the patriarch; Mona Washbourne plays the widow, Oliver's mother. Now that the patriarch is incapacitated by a stroke, who will get control of the company which has made the Parsons family rich? Oliver, the patriarch's nephew and closest male relative by blood, assumes it will be he, and already holds meetings of the board and sits at the head of the Parsons' dining table. But Peppard has married the boss's daughter. He is popular with the employees and wishes to revamp the company into the maker of modern parts using ceramics rather than ceramic figures long out of fashion. Oliver wants to sell off the company to a conglomerate looking for a tax write-off with no thought of the employees whose jobs the patriarch's son- in-law wishes to save. The audience will now know whom to favor. But the mysterious car accident throws into confusion the purposes of the patriarch's daughter and son-in-law. Without this knowledge of the Parsons family, the plot makes no sense. The joking demeanor between cousins, Oliver's mother berating her son for unprincipled ambition, the politics of the dining table, the police chief's pursuit of the son-in-law--all and most of the rest of the tale disappear into the reviewers' ignorance. Ashley and McDowall play brilliantly the two most interesting characters, who have survived together from childhood the Parsons politik and know each other very well. But it is Oliver's, and McDowall 's, movie. What does he know about the car accident, if anything? Almost every DVD box has a summary with at least one mistake in it, and a big one. Reviewers of The Third Day top this by mistaking the structure of the entire family whose machinations form the what, who, and why of the tale. How this happens, who can say? Too many popcorn breaks? The family relationships are emphasized in the dynamics of every scene in which two or more of the Parsons dynasty appear. Who is the villain, and in what does the villainy consist? Ashley's finest speech locates the answers in what else? Family values, and valuables.

"The Third Day" is enjoyable to watch - for all the wrong reasons. As a murder mystery it is not exciting since it is too obvious who the bad guy is. A movie where the heroes of the story are the rich people is too strange. It's hard to feel any sympathy for them. Maybe I'm used to seeing rich people being portrayed as bad and decadent. (It's more fun that way!) In "The Third Day" they just seem too dull and I was hoping the story would have some twists in it to make it interesting but no, the ending is very pat.It is a Hollywood studio product made just before American films got exciting again. Just a few years later a film like this would be deemed very old fashioned. The only time the makers of the film try to add some youthfulness is when Sally Kellerman all of a sudden does "the Frug", or some other dance, for no reason in front of the camera. Otherwise the movie is full of boring adults, some are of the early 60s rat pack kind - all of them acting in a stilted way.This is a bad "good" film. You can tell that studio took it seriously. It doesn't work for several reasons: Elizabeth Ashley is in some bizarre Audrey Hepburn mode. Geoerge Peppard looks bored and puffy. The villain is obvious and overacting. Spoiler! - You never get to see the car crash or how the passengers dealt with the situation. George Peppard *tells* the camera what happened! The best thing about this film are the magnificent surroundings and the cinematography. The landscapes and coastlines of the area that it was filmed in are astounding. But many parts of the movie are laughably bad. It's curious to see how the film tries to be sexy before the censorship codes fell. This is an extremely dated film, though that is what makes it entertaining!

George Peppard plays a man accused of murdering his girlfriend (Sally Kellerman) in a car wreck which has left him unable to remember anything. This film takes his story and shows us flashbacks as well as interactions with his creepy brother Roddy MacDowall (excellent) and wife Elizabeth Ashley. The film has its moments of suspense and involvement, particularly as the couple struggle to find some way to get past the accident and move on together. Peppard and Ashley are very good in the roles they have, and the movie on the whole is memorable. I'd recommend you see it if you like suspence thrillers with interesting endings, and if you can track it down.