Exploring One-Location Movies from the 50s and Earlier: Navigating Only the Sound Film Era
One-location movies, where the majority or entirety of the film takes place in a single setting, have been a creative challenge embraced by filmmakers throughout the history of cinema. This format allows directors to focus on character development, dialogue, and atmosphere within a confined space. Although the one-location approach is not exclusive to the 50s or early cinema, notable films from that era adopted this concept, particularly given the limitations of the sound film technology of the time and the prevalence of shooting in studios with built sets or adapting stories from stage plays.
Street Scene (1931)
“Street Scene” is a 1929 play by Elmer Rice that was adapted into a 1931 film. The play received the Pulitzer Prize for Drama. The story is set in front of a New York City apartment building, it depicts a day in the lives of diverse residents, exploring the struggles, dreams, and conflicts of working-class individuals. Notably, it is the first sound film (talkies) to explore the concept of a single-location movie. Directed by King Vidor, the film stands out for its vivid, humane, and sympathetic portrayal of social issues.
Grand Hotel (1932)
“Grand Hotel” (1932) is a classic ensemble drama set in a luxurious Berlin hotel based on a novel by Vicki Baum. The story follows the lives of diverse guests, including a gravely unwell bookkeeper seeking joy, a charming but financially struggling baron, a melancholic Russian ballerina, a ruthless industrialist facing financial troubles, and an aspiring model caught in a web of intrigue. The movie is notable for its innovative narrative structure, art direction, production quality, intertwining storytelling and exploration of various human emotions and interactions in a confined setting. “Grand Hotel” won the Academy Award for Best Picture in 1932 without being nominated in any other category.
The Last Mile (1932)
“The Last Mile” is a 1930 play by John Wexley, later adapted into a 1932 film directed by Samuel Bischoff. Set in a prison, it follows condemned inmates facing execution. The story explores their backgrounds, the flaws in the legal system, and themes of justice, rehabilitation, and the morality of the death penalty. The characters in “The Last Mile” are complex, and the play raises questions about society’s responsibility for the actions of individuals. The movie is notable for its exploration of the psychological and emotional struggles faced by the condemned men.
“The Last Mile” has been remade several times for both film and television. Such as the 1959 adaptation directed by Howard W. Koch.
The Old Dark House (1932)
“The Old Dark House” is based on the novel “Benighted” by J.B. Priestley. The story revolves around a group of travellers who seek refuge during a storm and end up at a mysterious and eerie mansion in the Welsh countryside. This movie is known for its atmospheric and gothic setting, with director James Whale infusing elements of dark humour into the horror genre. The film explores themes of isolation, fear, and the unknown, making it a notable classic in early horror cinema.
The Ninth Guest (1934)
In “The Ninth Guest”, eight strangers attend a mysterious dinner party, realising they share a dark secret. As murders unfold, they must uncover the killer’s identity to survive. The film is a suspenseful thriller with unexpected twists and a focus on the consequences of the character’s past actions. “The Ninth Guest” is based on the 1930 novel, The Invisible Host written by a married couple named Gwen Bristow and Bruce Manning. There was a stage adoption of the same name by Owen Davis.
This film reflects the mystery and thriller genre popular in the 1930s, with a focus on uncovering secrets and solving a gripping puzzle.
The Petrified Forest (1936)
“The Petrified Forest” is an American film directed by Archie Mayo, based on the 1935 play of the same name by Robert E. Sherwood. The movie is set in a remote diner/gas station in the Arizona desert, where a disparate group of characters find themselves brought together by fate. The diner becomes the setting for a tense and dramatic confrontation when a notorious gangster named Duke Mantee (played by Humphrey Bogart) and his gang show up. The film explores themes of existentialism, disillusionment, and the impact of societal pressures on individuals.
The Cat and the Canary (1939)
“The Cat and the Canary” is a remake of a classic horror-comedy silent film that was released in 1927. The movie is based on John Willard’s 1922 play of the same name, which was a popular stage production. The story revolves around the reading of a will amongst a group of potential heirs who assemble at the mansion, where they must spend the night. The plot begins with the death of millionaire Cyrus Norman, who leaves a substantial inheritance to be claimed by one of his distant relatives. This 1939 adaptation is well-regarded for its cast and direction. Directed by Elliott Nugent, the film features talented actors such as Bob Hope and Paulette Goddard, contributing to the overall success of the movie. The performances, along with the film’s effective use of atmosphere and suspense, have made it a standout example of horror-comedy in the classic Hollywood era.
Lifeboat (1944), Rope (1948), Dial M for Murder (1954), Rear Window (1954)
Alfred Hitchcock made significant contributions to the realm of one-location films, laying the groundwork for subsequent filmmakers to build upon. Click on the link to delve deeper into this topic in another article.
Dead of Night (1945)
“Dead of Night” is a British anthology horror film released in 1945. It is widely considered one of the most influential horror films of its time and is notable for its use of a framing narrative that connects several individual horror stories. The framing narrative follows a man named Walter Craig, played by Mervyn Johns, who arrives at a country house and experiences a sense of déjà vu. He realises that he has dreamed about the people and events in the house before, leading him to believe that something eerie and supernatural is happening.
As Walter Craig shares his experiences with the other guests, the film transitions into a series of short stories, each directed by a different filmmaker. These stories include:
- The Hearse Driver: Walter Craig describes a recurring dream involving a hearse driver. As the guests listen, one of them recounts a similar experience, and this leads into the first short story directed by Basil Dearden.
- Christmas Party: A story about a young girl who receives a haunted mirror as a Christmas present, directed by Alberto Cavalcanti.
- Haunted Mirror: This story involves a mirror that seems to show a reflection of a room from the past, directed by Robert Hamer.
- Golfing Story: A humorous tale about two golfers and a ghostly encounter on the golf course, directed by Charles Crichton.
- The Ventriloquist’s Dummy: This is often considered one of the most memorable and chilling segments of the film, directed by Alberto Cavalcanti. It tells the story of a ventriloquist, played by Michael Redgrave, whose dummy seems to have a sinister life of its own.
After these individual stories, the film returns to the framing narrative, and the characters grapple with the supernatural events unfolding in the house. The climax of the film ties back to the initial sense of déjà vu experienced by Walter Craig, creating a loop that adds an eerie and thought-provoking layer to the storytelling.
“Dead of Night” is praised for its innovative narrative structure, atmospheric tension, and effective use of psychological horror elements. It has influenced numerous filmmakers and remains a classic in the horror genre.
And Then There Were None (1945)
“And Then There Were None” is a mystery novel by Agatha Christie, first published in 1939. Ten strangers are invited to a remote island, and accused of murder by an unseen host. The novel’s title is derived from a children’s rhyme, and as the story progresses, the characters realize that they are being punished for their alleged crimes. Stranded on the island with no means of escape, the tension rises as the characters start dying one by one, mirroring the verses of the nursery rhyme. Each death is linked to one of the Ten Little Soldiers, figurines that are displayed prominently in the house. As they try to escape, secrets unfold, revealing their dark pasts. The novel is known for its clever plot, intricate characters, and surprising ending.
Key Largo (1948)
“Key Largo” is a film noir thriller directed by John Huston. The story is set in a hotel in the Florida Keys during a hurricane. Frank McCloud (played by Humphrey Bogart) arrives at the hotel to pay his respects to the widow Nora Temple (played by Lauren Bacall) and her father-in-law James Temple (played by Lionel Barrymore). James runs the hotel, and Nora is grieving her deceased husband, who was a war hero. As the storm rages, a gang led by Johnny Rocco takes over the hotel, revealing criminal intentions. Frank, a former army officer, must protect the hostages from Rocco’s plans.
The film explores themes of redemption, loyalty, and the struggle between good and evil. “Key Largo” is celebrated for its stellar cast performances, particularly those of Bogart, Bacall, and Robinson, and its gripping storytelling within the confined setting of the hotel during the storm.
Rashomon (1950)
“Rashomon” is a Japanese film directed by Akira Kurosawa. The story is set in medieval Japan and revolves around a crime — the rape of a woman and the murder of her husband. What makes the narrative unique is its structure, as it presents multiple perspectives on the same events. The film unfolds through a series of flashbacks and testimonies during a trial in which a woodcutter, a priest, a bandit, and the spirit of the murdered man all provide their own versions of what transpired in the forest. Each account differs significantly, revealing the subjective nature of truth and the unreliability of human perception and memory. As the conflicting narratives are presented, the audience is left to question the authenticity of each character’s story and ponder the elusive nature of objective reality. “Rashomon” is celebrated for its innovative storytelling, exploration of moral ambiguity, and its influence on cinematic techniques. The term “Rashomon effect” has since been coined to describe the phenomenon where different witnesses provide contradictory accounts of the same event.
Born Yesterday (1950)
“Born Yesterday” is a classic American comedy film released in 1950, directed by George Cukor. The film is based on the stage play of the same name by Garson Kanin, who also co-wrote the screenplay with his wife, Ruth Gordon. The story is about a wealthy and uncouth junk dealer, Harry Brock, who hires a journalist, Paul Verrall, to educate his girlfriend, Billie Dawn, to fit into high society. As Billie discovers her own intelligence, she questions her relationship with Harry. The film explores themes of empowerment and self-discovery, and Judy Holliday’s performance as Billie earned her an Academy Award for Best Actress. The movie is known for its sharp wit and social commentary.
Detective Story (1951)
“Detective Story” is directed by William Wyler, based on a play by Sidney Kingsley. The movie is a crime drama set in a single day in a New York City police station. The story revolves around Detective Jim McLeod, played by Kirk Douglas, who is a dedicated and uncompromising police detective. Detective McLeod is known for his strong sense of justice and is determined to rid the city of criminals. As the story unfolds, we get a glimpse into McLeod’s personal and professional life. His rigid adherence to the law is put to the test when he discovers that his own wife, Mary, played by Eleanor Parker, has had an illegal abortion in the past.
An Inspector Calls (1954)
“An Inspector Calls” is a British drama film directed by Guy Hamilton, based on the play of the same name by J.B. Priestley. The story is set in 1912 in the fictional industrial city of Brumley, England. The Birling family’s celebratory dinner is disrupted by Inspector Goole, who reveals each family member’s role in the death of a young woman named Eva Smith. The film explores class divisions, societal responsibility, and the consequences of individual actions, forcing the Birlings to confront their moral shortcomings.
No Exit -Huis Clos- (1954)
“No Exit” is a play written by the French philosopher and playwright Jean-Paul Sartre in 1944, and it is also known by its original French title, “Huis Clos.” The play is a one-act existentialist drama that explores the theme of hell and the nature of human relationships. The story unfolds in a small, windowless room with three characters who have recently died: Joseph Garcin, Inès Serrano, and Estelle Rigault. They expect to endure physical torture in hell, but instead, they find themselves trapped together in this room for eternity. As the characters interact, they gradually reveal the sins and moral failings that led them to their respective downfalls. The twist in the story is that the true nature of their hellish punishment is not physical torment but the psychological torture inflicted by each other’s company. The famous line “L’enfer, c’est les autres” (“Hell is other people”) encapsulates the central theme of the play. “No Exit” delves into existentialist philosophy, exploring the consequences of individual choices and the way people relate to one another. It remains a thought-provoking and influential work in the realm of existentialist literature.
Ordet (1955)
“Ordet” (The Word) is a Danish film directed by Carl Theodor Dreyer. The story is based on a play by Danish playwright Kaj Munk and explores themes of faith, religious tolerance, doubt, and the miraculous. The narrative revolves around the Borgen family, living in a rural community in Denmark. The head of the family, Morten Borgen (played by Henrik Malberg), is a devout Christian. The film focuses on the interactions and conflicts within the family, especially when Morten’s son, Johannes (played by Preben Lerdorff Rye), claims to be Jesus Christ.
“Ordet” is renowned for its meditative pacing, deep philosophical themes, and Dreyer’s unique directorial style. The film is often considered a masterpiece and has been praised for its exploration of spirituality and humanity. It received the Golden Lion at the Venice Film Festival and has left a lasting impact on the history of cinema.
The Swedish film adaptation of the play “Ordet” (The Word) was directed by Gustaf Molander and released in 1943.
Queen Bee (1955)
“Queen Bee” is a melodrama film directed by Ranald MacDougall. The story revolves around Eva Phillips, played by Joan Crawford, a manipulative and domineering woman who uses her cunning ways to control and disrupt the lives of those around her. Joan Crawford’s performance in “Queen Bee” is often praised for her ability to bring depth and nuance to the character of Eva Phillips. The film is considered a classic example of the melodrama genre, known for its intense emotions, moral conflicts, and exaggerated characterisations.
Abandon Ship -Seven Waves Away- (1957)
“Abandon Ship,” also known as “Seven Waves Away,” is a British-American survival drama film directed by Richard Sale. The story revolves around a luxury ocean liner, the SS Crescent Star, which sinks in the South Atlantic after hitting a floating mine. The film follows the struggles of the survivors as they take to lifeboats in an attempt to reach land. The lifeboats become separated, and one of them, commanded by Captain Alec Holmes (Tyrone Power), becomes the focus of the story. With limited supplies and facing treacherous conditions, the survivors must grapple with the harsh realities of survival at sea.
12 Angry Men (1957)
“12 Angry Men” stands as the first benchmark in Bubble Pictures Studio’s exploration of One-location movies. Click on the link to uncover more in another article.
The Lower Depths -Donzoko- (1957)
“The Lower Depths” (Donzoko) is a Japanese film directed by Akira Kurosawa, adapted from Maxim Gorky’s play. Set in the Edo period, it follows the lives of people in a dilapidated tenement. The characters, including gamblers, thieves, and prostitutes, struggle with poverty and despair, forming a community in society’s lower depths. Kurosawa’s adaptation explores social inequality, human suffering, and survival. The film is known for its powerful performances and emotional depth, reflecting the director’s interest in the complexities of human nature and societal issues.
Brink of Life -Nära livet- (1958)
“Brink of Life”, also known as “So Close to Life”, (Swedish title: “Nära livet”) is a Swedish film directed by Ingmar Bergman. The film is known for its intense exploration of the raw and complex emotions surrounding childbirth. The story revolves around three women who are in the maternity ward of a hospital, each facing different circumstances as they await the arrival of their babies. The film delves into the psychological and emotional aspects of childbirth, capturing the anxiety, pain, death, and joy that accompany the process. Praised for its intimate portrayal, the film captures the vulnerability and strength of women in this transformative moment.
Separate Tables (1958)
“Separate Tables” is an American drama film directed by Delbert Mann and based on the play of the same name by Terence Rattigan. The film features an ensemble cast and tells the interwoven stories of the guests at a small British seaside hotel. The film addresses issues of morality, societal expectations, and the consequences of one’s actions. It provides a character-driven exploration of the challenges individuals face in dealing with their past and the judgments of others.
House on Haunted Hill (1959)
“House on Haunted Hill” is a horror film directed by William Castle. The story revolves around an eccentric millionaire named Frederick Loren, played by Vincent Price, who invites five strangers to spend the night in a supposedly haunted mansion. Loren offers a reward of $10,000 to each guest who manages to survive the entire night. As the night progresses, the guests experience various frightening and supernatural occurrences, including mysterious apparitions, secret passages, and unexplained events. Tensions rise as the guests try to unravel the mysteries of the house and survive until morning. The film keeps the audience guessing about the true nature of the haunting and the motivations of the characters.
Odd Obsession (1959)
“Odd Obsession” is a Japanese film directed by Kon Ichikawa. The story is about the complex relationships within a dysfunctional family and explores themes of desire, jealousy, and the consequences of obsession. The film unfolds as Kenji, the middle-aged husband of a younger woman finds her youth intimidating to the point that he cannot become aroused. His solution involves the introduction of his daughter’s lover to his wife. As the characters navigate their desires and the consequences of their actions, the film explores the psychological and emotional toll of their odd and unconventional arrangement. The narrative delves into the dark and disturbing aspects of human relationships, highlighting the destructive power of obsession.
The study of one-location movies from the 50s and earlier reveals a diverse landscape of storytelling within confined settings. Despite technological constraints, filmmakers showcased creativity, emphasising character depth, social issues, and innovative narrative structures. This research provides invaluable lessons for aspiring filmmakers on maximising storytelling within constraints, emphasising character depth, thematic exploration, and innovative techniques. It serves as a foundation for budget-conscious filmmakers aiming to create impactful and memorable films within limitations.
Common themes include:
Character Exploration: These films delve deep into characters’ lives and emotions due to the intimate setting.
Social Commentary: Many movies tackle social issues, reflecting the era’s concerns. (“Street Scene,” “The Last Mile”)
Innovation: Films like “Grand Hotel,” “Dead of Night,” and “And Then There Were None” employ inventive narrative structures.
Genre Versatility: One-location format spans genres from horror (“House on Haunted Hill”) to drama (“Key Largo”) and crime thriller (“Detective Story”).
Existential Exploration: Work like “No Exit”, and “12 Angry Men” delve into existentialist themes.
Cinematic Mastery: Alfred Hitchcock’s contributions highlight the art of building suspense within limited settings.
Global Impact: International films like “Rashomon” and “Brink of Life” showcase universal storytelling.
Artistic Elements: Films like “The Old Dark House” and “Odd Obsession” explore aesthetics and psychological depth.
The cinematic era of the 1950s one_location_movies came to a close by diving into themes of justice, either through characters directly questioning one another or through a courtroom setting, as seen in films like “12 Angry Men” (1957) or “House on Haunted Hill” (1959). In “House on Haunted Hill,” the main character, Frederick Loren, asserts that justice should determine his innocence after committing what he believes to be a justifiable killing. Alternatively, in “Seven Waves Away,” a narrator breaks the fourth wall, directly prompting the audience to pass judgment. Beyond the exploration of existentialist philosophy and inquiries into the nature of truth, morality, and human relationships, a significant shift occurred in this era. Filmmakers began recognising the importance of audience engagement in storytelling, elevating it above other mediums. Cinema evolved to convey profound messages, prompting filmmakers to question: When people are sitting, listening, and watching your movies, what do you want to say?
