Karry
Best movie of this year hands down!
Dirtylogy
It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.
Humaira Grant
It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.
Neive Bellamy
Excellent and certainly provocative... If nothing else, the film is a real conversation starter.
JohnHowardReid
Directed by JOHN GUILLERMIN. Screenplay by Jonathan Latimer. From the play by Philip Mackie. Assistant director: Ronald Spencer. Director of photography: Wilkie Cooper. Art director: Tony Masters. Film editor: Gerry Hambling. Production manager: Jack Hicks. Camera operator: Hughie Wilson. Set continuity: Yvonne Richards. Sound recordists: F. Ryan, Bob Jones, John Aldred. Sound editor: Teddy Darvas. Make-up: Roy Ashton. Hairdresser: Bill Griffiths. Wardrobe supervisor: Bridget Sellers. Music composed by Mischa Spoliansky; conducted by Lambert Williamson; played by Johnny Dankworth and His Orchestra. Produced by Jack Clayton. A Romulus Film. A Columbia Picture.A Romulus Production. London trade show: June 1958. No New York opening. U.S. release through Columbia: September 1958. U.K. release through Columbia: 3 August 1958. Australian release: 7 May 1959. 86 minutes.SYNOPSIS: An American film producer is accused of murdering his star. Setting: the French Riviera.COMMENT: Crisp thriller screen-played by Jonathan Latimer (who worked with director John Farrow on such classics as The Big Clock, Beyond Glory, Night Has a Thousand Eyes, Alias Nick Beal, Plunder of the Sun, etc., and also authored interesting mystery novels on his own account, featuring private detective Bill Crane) with an interesting movie-making background on the French Riviera. Splendid performances by the principals and taut, inventive direction by John Guillerman keep the viewer almost constantly on the edge of his or her seat. Production credits are first-rate.
bkoganbing
Though leading man Stewart Granger has occasionally played the heel in a few films, the greatest screen cad of all George Sanders dominates this film playing a very wounded cad. He's a publisher of religious textbooks married to that most unlikely of mates, the voluptuous movie star Gianna Marie Canale who has used her feminine wiles to get to the top of the film business. Her latest conquest is producer Stewart Granger who is a bit down in the mouth since wife Donna Reed left him.The Whole Truth has Sanders planning a most methodical revenge against his wife and against Granger whom he sees as the pinnacle of all the men Canale cheated on him with. Sanders gives an academy award winning performance, even better than the Oscar winning one he got for All About Eve with the French police.Though The Whole Truth is far from All About Eve it's a decent enough thriller with Hollywood's greatest cad dominating the proceedings.
RanchoTuVu
A film producer accused of murdering the leading lady of his latest project must acquit himself and save his marriage. Stewart Granger was more than apt at the part of the producer and his relationship with Donna Reed (who plays the part of his wife) is full of fairly intelligent dialogue. George Sanders' character as the actual killer of the leading lady, who had totally humiliated him with her numerous affairs, makes convincing sense as the plot unfolds of an older man confronted with a marriage that's only evidence of matrimony was the worthless piece of paper the marriage certificate was written on. The ending is a bit of a stretch, but there are a lot of nice interior shots of the jet set enjoying a swanky party on the French Riviera where the story takes place.
howardmorley
I rated this film 5/10 as it was no more than par for the course.The minute George Sanders appeared, I knew he was going to play another suave sophisticated villain as he has played in so many other films.Donna Reed must have been disappointed with her rather anodyne part and Stewart Granger does his best with the dialogue in the mediocre screenplay.As far as I was concerned, the star of the film was the 1958 white Jaguar XK3 sports car.A few location shots around the south of France were seen but the rest was obviously shot in a film studio.The most farcical shot was a so called "car chase" that seemed to be wholly and claustrophobically shot on the film set where the cars seemed to be going round in circles around the artificial buildings!
