Der Henker nimmt Maß (1957) watch online HD

As director and screenwriter, Russell Rouse usually had something a little different up his sleeve, at least when he was toiling in film noir. His D.O.A remains one of the best-remembered films of the cycle, but he also contributed The Well, The Thief, Wicked Woman, and New York Confidential – each of them at least some distance off the beaten track. His films tended to be less ostentatious than their rivals – quieter even (none quieter than The Thief, that dialogue-free experiment).

House of Numbers was his last urban crime drama; he would go on to helm a few westerns and, in 1966, the dreadful The Oscar. But House of Numbers shows him in reasonably fine form. Jack Palance plays brothers: Arnie, in San Quentin for killing a man in a fight (he was a boxer so his hands are `lethal weapons') and Bill, who moves to San Francisco to spring him out. His helpmate in this Mission-Impossible-style scheme is Arnie's wife Ruth (Barbara Lang). The scheme is far from simple, involving Bill's smuggling himself into prison for a spell and posing as Arnie (not so far-fetched, since the same actor plays both roles). But things go wrong, such as Bill and Ruth happening to rent a house next to that of a prison guard who knows Arnie, and then falling in love with one another....

Though House of Numbers may be the least violent Big-House story ever filmed, Rouse doesn't let the reins go slack. He twists the plot along to its surprisingly sedate conclusion, and brings it off. Maybe the most memorable aspect of the film is Barbara Lang's subdued and touching performance. This blonde stunner's film credits could be counted on the fingers of a maimed hand, and that's both a puzzle and a shame.

The score, too is memorable, thanks to André Previn. His galley years in Hollywood, before he left to become a `serious' conductor and composer, were spent on a startling number of low-budget productions, including many noirs. He did them proud. Had he teamed up with a director of auteurist aspirations, like Hitchcock, he might have become legendary for his scores, like Korngold or Herrmann or Webb. (But then, we might not have gotten his opera A Streetcar Named Desire.)

Jack Palance is dynamite in a duel role as good/bad brothers in this dated but interesting prison-break drama. Subtle makeup variations and changes in bearing and demeanor make him easily recognizable as either the junior or senior sibling, a phenomenon which, in itself, makes the film imminently watchable. Beautiful Barbara Lang is captivating as the bad bro's missus, delivering a portrayal that belies a blonde-bimbo first impression, and talented Harold J. Stone gives a bang-up performance as a prison guard/neighbor. Much of the movie is a character study involving the brothers and the wife, but the escape scheme and its implementation provide a low-key suspense seldom seen in modern films.

San Quentin inmate Jack Palance hatches quite a scheme to get out of jail--get his lookalike brother to trade places with him in prison for a day while he constructs a foxhole to hide in, leading to his and his brother's escape. Filmed on-location in Cinemascope at San Quentin prison, with officers and inmates used as extras. It's a ludicrous plot, but the director keeps everything very low-keyed, and Jack Palance is excellent in demanding dual role. Extraordinarily silly, but so well-made you may be absorbed and interested despite yourself. Harold Stone is steely-eyed and cunning as a prison guard and Edward Platt(later of TV's "Get Smart")is believably sympathetic as the nicest prison warden you'll ever see. Barbara Lang also good as the convict's wife, obviously cast for her platinum hair and curvy figure, but giving a grounded, natural performance without showy airs.

Jack Palance plays look-alike brothers in "House of Numbers," a 1957 film also starring Barbara Lang and Harold Stone.

A "B" movie didn't mean a film wasn't good, and "House of Numbers" is proof of that. Palance plays a man who is desperate to get his brother out of San Quentin. He enlists the help of his sister-in-law, played by Barbara Lang. Harold Stone is on hand as a nosy prison guard.

Palance is fantastic in the two roles. They're not twins, so there's a makeup change, and Palance creates two different characters. One is gentle and shy; the other is older-looking, tough, and speaks in a somewhat hoarse voice. One is shorter than the other, too.

Barbara Lang was one of the many Marilyn Monroe types who was around in the 1950s. Young, quite slender with overly blond hair that's too big for her, her speech is reminiscent of Monroe's, and facially, she looks like Natalie Wood. She went on to have an enormous career on Broadway in many musicals and did other theater as well. She doesn't have much to do in this film except heat up the male characters, which she accomplishes with little effort.

"House of Numbers" will have you on the edge of your seat. Highly recommended.

House of Numbers (1957)

This starts with a clunky, poorly written rush to fill us in on the situation--a brother in jail who needs help to escape. But hang in there. It gets better.

The premise is clear early on—Jack Palance plays a man whose brother (also played by Palance) needs to get out of San Quentin. So they plan an escape that involves the first brother breaking into the prison. And so on. Cool stuff.

And when it gets going, there is less talk and more action, and frankly Palance is a physically interesting actor (his delivery is always stiff). This is not a great classic by any stretch. Parts are almost filler—scenes from around the real San Quentin (one of the advertised perks of the movie). But there are also good suspenseful aspects watching this plan get underway. Whether it works, I'll not say. Both Palances are good enough to hold it together.

The leading woman, trying painfully hard to be a kind of Marilyn, is a drag on the whole thing. A few side characters spice it up nicely. But mainly we have the plot, and the details as we see the clever and rather nutty idea get underway. The improbable daring of the events continues right to the end, with a final twist and "The End" hitting you quickly.

The director, Russell Rouse, is obscure (he directed "New York Confidential," which is good), and he probably deserves a lot of blame here because the core idea of the movie is great. And Palance could have risen up a notch with some good leading. One aspect of Palance's performance that is great, for sure, is how he made the two brothers really seem like different characters. They aren't twins, and they look and act different.

The music by the soon-to-be well known conductor, Andre Previn, is an example of orchestral excess—it made me even laugh once, with the crash of music for dramatic effect, though the composing has some new qualities that take it musically beyond the great Max Steiner.

By half way through there was no way I was going to quit, so if you get into this for awhile you'll be hooked by at least the "what happens" part of it all, and by the location shooting and some good night stuff.

Gimmicky plot that doesn't work despite the key ingredients. In 1957, Jack Palance was one of the most interesting actors around. His skeletal face and intense manner looked nothing like the pretty boy stereotypes that dominated male leads of the day. So why does this opportunity to play dual roles fall as flat as it does. I'm not sure, but the uninspired pacing of director Russell Rouse fails to generate much needed excitement. Then too, the script is not just confusing but fails to present Palance with a clear concept that can be acted out with his usual intensity. Where there should be a contrast between the bad brother Arnie and the sympathetic brother Bill, Palance ends up playing both in a confusingly similar fashion. That sort of ambiguity may play well with art house audiences, but here it drains the film of much needed dramatic tension. Then too, Barbara Lang as the moll shows why it takes more than a shapely figure and a good dye job to make an actress, even in the Marilyn Monroe-driven 1950's.

The film has two things going for it-- filming at unusual San Quentin locations, along with cult actor Timothy Carey in a brief but typically memorable role as Palance's cell mate. Note how real inmates (I think) try to get a moment of fame in the prison scenes, one of which apparently includes the actual mess hall. In a better film, these scenes would have contributed greatly, but here they simply pass without impact. One can only speculate as to the explosive potential of vintage Palance and the incorrigibly oddball Carey confined together in the same cell. Too bad, director Rouse and the writers didn't realize what they had. Just watch Carey's rolling eyes wheel away from whatever the mouth is saying as though they're hooked up to two unruly strangers. A potential clash between the exotics Palance and Carey would have created an exceptional moment for cult admirers everywhere.

All in all, the slack direction and sloppy script sabotage what could have been a memorably offbeat B-film.

This was the very first motion picture I can remember seeing on television. It must have been in 59 or 60 on the old NBC Saturday Night at The Movies and I was either three or four. It has stuck with me all these years and I have never seen it since. I do remember the Jack Palance character attempting to switch places with his twin brother in California's San Quentin penitentiary and a washing machine agitator being used as some type of grappling hook device. I'd love to see it again after all these years.

I have never seen the film , publicized, as a VHS release. Not only was Jack Palance the star, but he had a blonde as "Ruth" played by Barbara Lang. I know that she is a Broadway Bombshell and a striking clone to Marilyn Monroe. She was in movies such as " Hot Summer Night." Also according to information, on the website, she was known by credits to have starred in the 1985 film, " Weird Science" as Lucy. I would love to know more about her career and her mother was Maureen Knight (Silent Film Star). I even have a surprising collection of her publicity stills...what a mystery to some fans. Thanks for the great website. Kyle

Palance turns in tepid performances in a dual role, as two brothers, one trying to break the other out of San Quentin. The implausible plot drags to a weak conclusion. . . the only surprise is that this routine fare came from the pen of Jack (Invasion of the Body Snatchers) Finney.

A convict enlists his wife and his brother to help him bust out. This one has two interesting elements. One, it's actually filmed at San Quentin, lending the picture some realism. Two, both brothers -- although not twins -- are played by Jack Palance. The breakout scheme is beautifully detailed, clever and intricate. It's a nice piece of business. Palance is okay but not at his best, and although Barbara Lang gets the job done, she doesn't leave a lasting impression. Two smaller roles jump out: Harold J. Stone as the creepy guard, and a cellmate played by the great Tim Carey, who can always be counted on for an eccentric performance. I typically enjoy a good prison break movie (much like I enjoy heist films) so I was happy with it, but if you're not a fan of the genre you can probably skip this one. Beyond the mechanics of executing the plan, the film doesn't offer much of interest.

I am not going to spoil the films actual review or give anything away here....However, I thought the film has a good dramatic approach. Jack Palance has always been a wonderful villain in his choice rolls and you almost believe he IS the character that appears. His acting is so intense and full of excitement you have to expect it. Barbara Lang from what I know was a beginner in the film or Hollywood and her acting style is also natural. Despite the fact that she looks like Marilyn Monroe's younger sister (fantasy thought)she should have done more if it all. The first time I saw her in Party Girl 1958 she was breathtakingly beautiful. She moved on to pursue theatre and won a Drama Desk Award from critics for her supporting role in The Robber Bridegroom 1997 Broadway musical. I encourage anyone to see the film and if have read the actual novel of House of Numbers.....then you will be pleasantly surprised with the film itself. Check it out.....unforgettable and it was hard to find.

I saw this film when it first came out, in 1957. I was a child then, but this movie still stays with me. One unique thing about the movie is in the non-dialogue scenes. SHOWING the audience something. In this case, Jack Palance goes to the hardware store and buys all the materials he needs to make his own grappling hooks--rope, plywood and duct tape. We watch him doing this, as he marks the pattern onto the wood, and starts cutting. But we don't know what he's doing--what's going on--until he's done. --Masterful filmmaking!

As far as the rest of the story goes--a guy breaking in to prison to help his brother break out--that seemed original enough, although I'm pretty sure TV has used this idea since then--what was that series a couple years back?--Prison Break or something.

The main point of interest, personally, of 'House of Numbers' was Jack Palance, an always watchable actor, despite his resume being a very mixed bag, who specialised in playing villains and intense characters.

Palance, in a dual role as two brothers, is also by far the best thing about 'House of Numbers'. He does fare better as Arnie, the role is meatier and plays to his strengths far more, allowing him to show some menace and intensity without ever going overboard. He does however do a good job too as Bill, the more sympathetic role which sees Palance more appreciatively understated than usual but in comparison Bill is a little underwritten though still easy to identify with. Overall though, he is incredibly effective at differentiating between the two brothers, a demanding task and he does excellently.

It's not just Palance that makes 'House of Numbers' worth seeing though. The rest of the performances are also very good, with Barbara Lang beautiful and poignantly subdued and Harold J. Stone effectively cunning. You would be hard pressed to find a nicer prison warden than the one played by Edward Platt here, and Timothy Carey is very memorable and quite a breath of fresh air. 'House of Numbers' is very nicely made, with beautiful moody photography that never looks jagged or blurry and the prison is an imposing character on its own. André Previn's music score is ominous but also subtle and composed and placed cleverly.

While the story is less than perfect, there are some twists that keep it from being a standard thriller and there is some low-key suspense. The prison escape scheme is at times pretty ingenious. The characters maintain interest and the chemistry between the actors is continually good.

'House of Numbers' also could have been much more. It did need more pace and excitement than what Russell Rouse managed to provide, especially the ending which was rather too sedate for my tastes. The script is underdeveloped and confused, and while it is not dull by all means the story is less than perfect in execution, too often falling into implausibility.

Overall, definitely worth watching for particularly the cast (notably Palance) though with better direction, scripting and more even storytelling 'House of Numbers' also could have been much more. 6.5- 7/10 Bethany Cox

Poor film dealing with a brother's scheme to get out of jail. He changes places with his brother who looks like him.

Jack Palance as always is intriguing. However, the problem here is that he has such poor written material to work with.

Harold J. Stone comes off as a heavy as a prison guard who has larceny in his heart but has the tables turned on him.

We see Palance as a sympathetic brother who helped the latter through college.

The acting here is so stilted. Even the guy who is hijacked in his car comes off as totally unrealistic. How many times could he say: "Don't hurt me, I have a wife and kids."

The ending where the brother turns on the other is not surprising but by this time you're so annoyed with the whole thing that you just don't care much anymore.