Hellen I like the storyline of this show,it attract me so much

Spidersecu Don't Believe the Hype

InformationRap This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

Nayan Gough A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

Joseph Kearny Superficial drama with a seething, scenery chewing Kirk Douglas playing opposite a seemingly miscast Eleanor Parker as his sweet wife with a dark past. William Wyler director of the masterful The Heiress ('1949) and The Collector (1965) is unable to make the talky and tedious Pulitizer-Prize winning drama interesting, and there is no pacing or atmosphere, and despite the overwrought dramatics there is little excitement. The film is largely confined to one set and the film seems redolent of so many detective TV shows. In its day, Detective Story was considered somewhat daring due to the abortion issue, but the conflict feels forced and pointless. Douglas cannot make sense of his character who seems unduly obsessed with persecuting an abortionist. Despite the Oscar nominations for Wyler, Douglas, Parker and Lee Grant, they all seem to be merely marking time.

kijii I just saw this great black and white movie for the first time last night. What a powerful movie and what a great cast!!! If someone had told me that this movie was a William Wyler movie, I would not have believed him, since it is so different from his other movies. Basically set in the intake and holding room of one NYC police precinct, it presents a large and diverse cast of powerful stories about miscreants (or would be miscreants) in a one basic location. This movie received Oscar nominations for: Best Actress--Elenor Parker Best Supporting Actres--Lee Grant in her first motion picture Best Director----William Wyler and Best Writing, Screenplay--Philip Yordan & Robert Wyler Is this movie the first of it kind in bringing many characters into (basically) a single room?? Kirk Douglas was at his best, as far as his raw physical acting is concerned. It came out about the same year as Billy Wilder's Ace in the Hole. William Bendix also gives one of his best performances here too. Lee Grant is in the room for shoplifting a $6 purse. She is great as an "observer" of all the things going on around her as she waits to be "booked." In that way, she acts as sort of a Greek chorus to the main events. If I had seen this movie as an 8-year-old kid, I would have totally missed the wonderful magic of the movie and the way it was constructed. One of the central parts of the story has to do with illegal abortion, yet the word "abortion" is never used in the movie and probably would have been misunderstood if it had been. In 1951, probably few people even talked about.

durififichezleshommes if we call this artwork, Film, so what we have to call these recent movies? what this movie has that others has not? the answer is Form and content. this movie all made in a police quarter. its all happen there. the movie based on Characterizations. each character has individual spirit . the story comes out from the characters. that is the cinema. it means story is character and character means story. that is the key pro of this film. other thing that we cant find in recent movies( specially we cant find nearly from 1980 up to now) is evolution of character. it means character in the point of A must have differences from point B. for example kark douglas in the beginning of film is different from the kirk douglas in the end of film. its is not just kirk, all the characters have evolution process. God bless william wyler the great.

Irie212 Skillfully written and directed, as well as played by a superb ensemble of actors, DETECTIVE STORY barely opens up from the three-act play it is based on. By keeping the action cramped in a New York City precinct house, director Wyler succeeds beautifully in drawing the audience into the vice-like grip of this complex, tightly woven drama.The trouble is, the story is too much a product of its time. I never use the phrase "good for its time," because it doesn't allow for the works of genius that transcend time. But this movie is stuck in 1951, which muddles a key part of the plot: the abortionist is treated as evil, but the woman who went to him is someone we sympathize with. That's a double standard now, and it was then. It also treats religion with period awe.From that flaw, others follow. The one person who cannot forgive her is her own husband (Kirk Douglas), an Irish cop with zero tolerance for even the pettiest of crimes. He dispenses Manichaean justice-- good vs evil, no shades of gray. First-time offenders are nothing more than guys who finally got caught. He's cop, judge, and jury with everyone he arrests-- and he's punisher, too, at one point saying he wants the doctor in the electric chair and he'll throw the switch. He also has a violent temper; indeed, even after being warned by his Captain, he beats a suspect badly enough to hospitalize him. Therein lies another flaw: we're supposed to believe that a man with this uncontrollable temper never crossed the line with off-duty assault against a neighbor, a relative, anybody? He's presented as pure, except for his passion for (his own definition of) justice.The film ends with his confession, and here it is, transcribed verbatim: "Oh my God, I am heartily sorry for having offended Thee and I detest all my sins because I dread the loss of heaven and the pains of hell." It's a fairly standard Christian text for the Act of Contrition. I kept waiting for him to add that he was sorry for any human being that he hurt, or offended-- a nod to the Golden Rule, if you will-- but no. His contrition is canned Christianity. Never mind what individuals you actually hurt, just address an apology to the Being who promises to hurt you if you don't. That, as must have been observed before, is the brutal opposite of the Golden Rule. It isn't morality; it's fear, and it's self-serving. Including the Act of Contrition pandered to the Catholics in the audience, but even Catholics would have appreciated him expressing heartfelt remorse toward the people he hurt.It's worth seeing, it's so well done. But the playwright, Sidney Kingsley, did not look beyond temporary mores {sic}, and the two screenwriters, Robert Wyler (the director's brother) and Philip Yordan, settled for that. Too bad.