Private Number

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R | 95 min | Horror, Mystery, Thriller
A series of cryptic phone messages and visions haunt a writer while he struggles to finish a novel. As they increase in intensity, he loses his grip on reality, eventually obsessing over an... See full summary »
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Not that this movie was by any means great (or even particularly good) before it, but it was at least borderline watchable but the ending.

My goodness the ending, a really pathetic and desperate way to end a movie and one that makes little sense to what we've just seen previously.

Clearly I can not go into details without spoiling it, so I won't do that but yeah I had to point out the reason this movie went from what probably would have been a 4/10 to a 2/10 in the end.

On the plus-side they manage to create some really neat-looking visuals in some of the scenes, and I guess the acting isn't terrible.

Tom Sizemore and Judd Nelson have the biggest faces on the poster but they only pop up from time to time, if they weren't the most famous people in the movie they'd probably wouldn't even been on it.
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Horror | Mystery | Thriller
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Private Number (1:23)|Отдельный номер (2014)

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Approved | 80 min | Drama, Romance
A maid secretly marries the son of her wealthy boss.
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Writers:
Gene Markey (screen play), William M. Conselman (screen play), Cleves Kinkead (from a story by)
In a film that was primarily a vehicle for Loretta Young, I'm guessing that Darryl Zanuck did not want to use his favorite leading man Tyrone Power in this remake of Common Clay. Power and Young did do several films together in the Thirties, but they were either equal vehicles or Power predominated. So Zanuck got the services of Robert Taylor who was the MGM equivalent of Power for Private Number.

Or it's possible that Power also took a look at the script and realized that the part Basil Rathbone had would be a show stealer. Or that Basil Rathbone would make it one as the villainous and lecherous butler is the kind of role Rathbone could really sink his teeth into.

Certainly the part is out of the Snidely Whiplash tradition of villains. Rathbone is the tyrannical butler who rules the house servants with an iron hand including 20% kickbacks on their salaries of which the clueless masters Paul Harvey and Marjorie Gateson know nothing and for reasons I can't figure out no one is telling them or complaining. The only who raises her voice to Rathbone is cook Jane Darwell.

When Loretta Young arrives looking for work, Rathbone in true stage villain tradition is willing to forget the kickback for other considerations. But Young catches the eye of Robert Taylor as Harvey's and Gateson's son. They marry in secret and Young keeps her pregnancy a secret for as long as she can.

With Rathbone playing Iago as well as Snidely Whiplash to the parents they move for an annulment. It all gets rather messy in court, but of course it all works out for the course of true love.

Young is certainly beautiful and who wouldn't fall for her. Only toward the end is Taylor given anything to do that requires any real acting on his part. Patsy Kelly playing Patsy Kelly is also fine as Young's best friend. But the one you will really remember from Private Number is Basil Rathbone.
Richard jokes that the local cinema in rural Maine shows "all the latest movies" including 'Birth of a Nation', which was made 20 years earlier.

Perry Winfield: Well son, I'd like to hear from you once in a while. Even when you're not asking for money.
Richard Winfield: Well, somebody's got to help you spend it.

Jane Darwell is billed as "Mrs. Meecham" but is called "Mrs. Frisby" twice.

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Private Number (2014) - IMDb
Private Number (1936) - IMDb
Private Number