Trent’s Last Case (1952)

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Orson Welles, Margaret Lockwood and Kenneth Williams amid a glittering cast!
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UK / 86 minutes / bw / Imperadio, Republic Dir & Pr: Herbert Wilcox Scr: Pamela Bower Story: Trent’s Last Case (1913) by E.C. Bentley Cine: Max Greene Cast: Michael Wilding, Margaret Lockwood, Orson Welles, John McCallum, Miles Malleson, Hugh McDermott, Jack McNaughton, Sam Kydd, Kenneth Williams, Henry Edwards, Ben Williams, PLUS

  • Eileen Joyce
  • Anthony Collins
  • and members of the London Symphony Orchestra

This is the third of the four (to date) screen adaptations of Bentley’s supposedly subversive mystery novel. The other three have been:

  • Trent’s Last Case (1920) dir Richard Garrick, with Gregory Scott, Pauline Peters, Clive Brook and George Foley (silent)
  • Trent’s Last Case (1929) dir Howard Hawks, with Raymond Griffith, Marceline Day, Lawrence Gray and Donald Crisp (silent)
  • Trent’s Last Case (1964 TVM) dir Peter Duguid, with Michael Gwynn, Kenneth Fortescue and Peter Williams

. . . and I’m sure my true love would spifflicate me if I didn’t mention the unrelated (beyond the title)

  • Trenchard’s Last Case (1989 TV) dir Mike Barnes, an episode of the Bergerac TV series (1981–91) starring apparently droolworthy screen idol (there’s no accounting for taste) John Nettles

Philip Trent (Wilding) is a monied artist and amateur sleuth. In the past, the editor (uncredited) of the Daily Record has commissioned from him dispatches written while he’s been investigating his most sensational murder cases, and what could be more sensational than the murder of ruthless international financier Sigsbee Manderson (Welles) in the grounds of his stately Hampshire pied à terre, White Gables?

Or was it murder? So many of the circumstantial details point to suicide.

The dead man’s widow Margaret (Margaret Lockwood) gives evidence to the coroner’s court . . .

. . . where Philip sketches John . . .

. . . and gardener Horace Evans (Kenneth Williams) also gives evidence.

Philip reaches White Gables the day after Manderson’s body has been discovered by the subgardener, Horace Evans (an almost unrecognizably young Williams), and, with the help of the widowed Mrs. Manderson’s uncle, Burton Cupples (Malleson), talks his way into the house, where he discovers his old pal and rival, Inspector Murch (Kydd), heading the Continue reading

Inquest (1939)

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One of the earliest Boulting Brothers movies!
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UK / 58 minutes / bw / Charter, Grand National Dir: Roy Boulting Pr: John Boulting Scr: Francis Miller, Michael Barringer Story: Inquest (1931 play) by Michael Barringer Cine: D.P. Cooper Cast: Elizabeth Allan, Herbert Lomas, Hay Petrie, Basil Cunard, Barbara Everest, Olive Sloane, Philip Friend, Harold Anstruther, Malcolm Morley, Jean Shepherd, R. Watts-Philipp, Richard Coke, Charles Stevenson, Jack Greenwood, Peter Madren.

Bucolic scenes . . . a cricket match on the village green . . . dozing dotards and their dogs . . . ruminating cows . . . the village pub . . .

And then suddenly the spell is broken as a shot rings out.

In the attic of Cove Cottage a rummaging William Trelease (Stevenson) has Continue reading

A Time to Kill (1955)

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Who’s the bad apple?
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UK / 62 minutes / bw / Fortress, Associated British–Pathé Dir: Charles J. Saunders Scr: Doreen Montgomery Cine: James Wilson Cast: Jack Watling, Rona Anderson, Russell Napier, Keneth [sic] Kent, Mary Jones, John Horsley, Joan Hickson, John Le Mesurier, Alastair Hunter, Hélène Burls, Alan Robinson, Dandy Nichols, June Ashley.

Downtrodden doctor’s wife Florence Cole (Jones) is having to make blackmail payoffs at the abandoned Brixley Grange to a mysterious hooded figure.

Florence (Mary Jones) makes another payoff.

Her crime? She once had an affair with local analytical chemist and ladies’ man (I never before thought I’d put those two phrases in the same description) Peter Hastings (Horsley). She’s having a confrontation about it all with her pompous husband Julian (Kent)—

Julian: “How often, I wonder? How many others have there been? No . . . I don’t really want to know. If I did, I’d have to kill you.”

—when the phone rings. It is none other than the cad Peter, saying that he and visiting lady friend Madeline Tilliard (Ashley) have been poisoned by strychnine. Julian grabs his little black bag and is soon there—though not soon enough for Continue reading

House of Mystery (1961)

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Mordre wol out!
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UK / 54 minutes / bw / Independent Artists, Anglo–Amalgamated Dir & Scr: Vernon Sewell Pr: Julian Wintle, Leslie Parkyn Story: L’Angoisse (n.d.) by Pierre Mills and Celia de Vilyars Cine: Ernest Steward Cast: Jane Hylton, Peter Dyneley, Nanette Newman, Maurice Kaufmann, Colin Gordon, John Merivale, Ronald Hines, Colette Wilde, Molly Urquhart, George Selway, Freda Bamford, Roy Purcell, John Abineri, Pearson Dodd.

Vernon Sewell bought the screen rights of the Pierre Mills and Celia de Vilyars stage play L’Angoisse and went on to film it no fewer than four times, of which this was the fourth. The other three were The Medium (1934), Latin Quarter (1945) and Ghost Ship (1952); I’ve already written on this site about Latin Quarter—a far more ambitious effort than this offering. What puzzles me is that, despite supposedly being based on the same play, the two movies—the 1945 one being cheerily Grand Guignol and this one being a fairly straightforward, sub-M.R. Jamesian ghost story of the kind you might expect the BBC to broadcast around Christmas—don’t seem to have a huge amount in common. Moreover, while the seemingly supernatural component of Latin Quarter can be more or less rationalized, that’s far from so in this case.

So why am I talking about the movie here? Is it just because I’m a confirmed Nanette Newman fanboy? Ahem. Heaven forfend. Nothing of the sort. Surely. The raison d’être of this entry is that the movie’s a variant of Latin Quarter, which most certainly is of interest within the broadish parameters of this site.

Nanette Newman as Joan.

Somewhere near Barnstaple in North Devon, in the UK’s southwest, a househunting young couple, Alan (Hines) and his unnamed wife (Wilde), arrive at Orchard Cottage. It’s spacious and lovely and it’s in its own grounds, and it’s remarkably cheap:

Alan: “Darling, this is the one that’s £2,500.”
Wife: “Well, the price is ridiculous. Must be falling to bits or something.”

Later, just to remind us how things have changed a tad since 1961, certainly in the area of house prices, Alan qualifies: “Must be worth at least £6,000.”

They’re met at the door by a rather creepy middle-aged woman whom they assume to be the caretaker. She starts to tell them about the house, and the Continue reading

River Patrol (1947)

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An early Hammer!
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UK / 43 minutes / bw / Knightsbridge Hammer, Exclusive Dir: Ben Hart Pr: Hal Wilson Scr: uncredited Cine: Brooks-Carrington Cast: John Blythe, Wally Patch, Stan Paskin, Lorna Dean, Wilton West, George Crowther, Fred Collins, Johnny Doherty, Douglas Leigh, Tony Merrett, George Lane, Dolly Gwynne, Audrey Hibbs, George Kane.

A short and very minor feature that marked the end of the decade-long hiatus in production, because of World War II, for Hammer, the studio later to become famous, of course, as the “House of Horror.” There are no horrors on offer in River Patrol, however, which is a fairly straightforward crime B-movie of the sort that would soon become more associated with the Merton Park studio. The river in question is London’s Thames and the patrols are mounted on it by an institution—I’m pretty sure a fictional one—called the Water Guard.

Robby (John Blythe) phones news of the skirmish in to HQ.

One of the Water Guard’s boats, bearing agent Robby Robinson (Blythe), tries to stop a suspicious-looking craft on the Thames, there’s an exchange of shots, and Robby’s companion Maxwell (uncredited) is killed. If this doesn’t seem implausible enough, rather than radio in the news of the encounter to the Water Guard HQ, Robby has to go ashore and find a phone box.

Robby’s boss (uncredited) reckons the rogue craft must belong to the gang that’s flooding London with Continue reading

Dick Barton Strikes Back (1949)

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The final Barton!
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UK / 68 minutes / bw / Hammer, Ted Kavanagh Associated, Exclusive Dir: Godfrey Grayson Assoc Pr: Anthony Hinds, Mae Murray Scr: Elizabeth Baron, Ambrose Grayson Story: Ambrose Grayson, based on characters created for Dick Barton—Special Agent (1946–51 BBC radio series), devised by Norman Collins and scripted by Edward J. Mason and Geoffrey Webb Cine: Cedric Williams Cast: Don Stannard, Bruce Walker, Sebastian Cabot, James Raglan, Jean Lodge, Morris Sweden, John Harvey, Humphrey Kent, Sidney Vivian, Tony Morelli, George Crawford, Laurie Taylor, Schulman.

This was the third to be made in what Hammer planned to be a long-lasting series of movies featuring the popular BBC radio character Dick Barton, begun with Dick Barton: Special Agent (1948). It proved to be the last, however, because, driving home after the “It’s a Wrap” party, series star Don Stannard crashed his car and was killed instantly. His co-star in Dick Barton Strikes Back, Sebastian Cabot, traveling with him, escaped with only minor injuries. Presumably in an effort to cash in on public interest in the tragedy, Exclusive, the series’ distributor, hurried the release so that this movie came out before its predecessor, Dick Barton at Bay (1950). The next movie in the series was apparently intended to be Dick Barton in Darkest Africa—to judge by the title, a radical departure from the series template.

I mentioned in connection with Dick Barton at Bay that the improvement of its production standards over those of its predecessor was evident within moments of the end of the opening credits. The improvement in standards of the third entry over Dick Barton at Bay is obvious even during the opening credits! Farewell to the strictly functional, rather amateurish credits of the previous two movies; hello to a more sophisticated presentation, complete with cameos of the three principals. A new production team and a new cinematographer—one who was far readier to use noirish techniques of shadow and angle—make a huge difference, but so does the fact that a bit more thought seems to have gone into the story, which, while it follows the basic overall template established by the two earlier movies and is as full of wild-and-woolly plot developments as ever, has an actual dramatic structure, leading up to an extended finale that is cleverly put together and genuinely edge-of-your-seat stuff.

Creston (Morris Sweden, left) tersely briefs Dick (Don Stannard, center) and Snowey (Bruce Walker) at the airport.

Dick (Stannard) and Snowey (Walker, replacing and much improving upon George Ford) go to St. Albans airport, about twenty miles out of London, to meet Special Agent Robert Creston (Sweden), who’s just arrived on the plane from Prague. He’s reluctant to be seen with them, muttering only that “If my guess is correct, the atomic bomb is child’s play compared to this” and arranging to meet them later at Continue reading

The Dummy Talks (1943)

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Who slew the philandering ventriloquist?
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UK / 82 minutes / bw / British National, Anglo–American Dir: Oswald Mitchell Pr: Wallace Orton Scr: Michael Barringer Story: Con West, Jack Clifford Cine: James Wilson Cast: Jack Warner, Claude Hulbert, G.H. Mulcaster, Beryl Orde, Ivy Benson, John Carol, Evelyn Darvell, Max Earl, Gordon Edwards, Manning Whiley, Charles Carson, Derna Hazell (i.e., Hy Hazell), Eric Mudd, PLUS

  • Ivy Benson’s All-Ladies Orchestra
  • Frederick Sylvester & Nephew
  • Tommy Manley & Florence Austin
  • Cecil Ayres with the Skating Avalons
  • The Five Lai Founs

the-dummy-talks-0

A wartime morale-booster set inside a London variety house/music hall (about the same as a US burlesque theater, but without the, er, disrobing) and relying heavily on the BBC radio popularity of three of its major cast: Jack Warner, Claude Hulbert and Beryl Orde. The movie presents itself as a murder mystery with the added elements of some flippant humor and quite a lot of stage presentations. Despite some genuinely clever moments, it seems today—although fans of music hall might disagree—a tad leaden in places.

the-dummy-talks-3-joe-listens-at-doorways

Joe (uncredited) knows a thing or two.

Comedian Jack “Blue Pencil” Warner (Warner) and impressionist Beryl Orde (Orde) are the current headliners at the variety theater, drawing the crowds because they’re well known radio personalities, but plenty of other high-profile acts are on the bill: Marvello (Carson) and Maya (Hazell) with their mentalist act; ventriloquist Russell Warren (Whiley); and singer Peggy Royce (Darvell), who performs with the big band Ivy Benson’s All-Ladies Orchestra (one of several genuine variety acts to feature). Behind the scenes we have stage manager Marcus (Edwards); the theater’s managing director, Yates (Earl); Joe (bafflingly uncredited), the stage-door keeper; and a stutteringly unorthodox cop, Victor “Vic” Harbord (Hulbert), who hangs around the theater a lot because he and Peggy are—improbably—enamored.

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Vic (Claude Hulbert) and Beryl (Beryl Orde).

Beryl knows the ventriloquist, Warren, of old, and despises him as a heartless womanizer. She also recalls how one time, when they shared a bill up north, Warren beat to a pulp a husband who objected to Warren’s seduction of the luckless man’s wife. Beryl is thus dismayed to notice that Peggy is seeing rather more than is appropriate of the ventriloquist; Vic may be no Adonis, but he has a good heart and a genuine adoration for the singer. The truth is that Warren has learned that Continue reading

Orders to Kill (1958)

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Assassination seemed so easy . . . at first!
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UK / 107 minutes / bw / Anthony Asquith, Lynx, British Lion Dir: Anthony Asquith Pr: Anthony Havelock-Allan Scr: Paul Dehn, George St. George Story: Donald C. Downes Cine: Desmond Dickinson Cast: Eddie Albert, Paul Massie, Lillian Gish, James Robertson Justice, Leslie French, Irene Worth, John Crawford, Lionel Jeffries, Nicholas Phipps, Jacques Brunius, Robert Henderson, Miki Iveria, Lillabea Gifford, Anne Blake, Sam Kydd, William E. Greene.

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“The central story on which this film is based is true,” reads a line in the opening credits of Orders to Kill, an offering that starts out as an orthodox war movie but then ventures far farther into noirish territory, both thematically and in visual style, than do most UK films noirs of the era.

It’s Boston in 1944, and the French officer Commandant Morand (Brunius) conveys to two of his US opposite numbers, Major Kimball (Crawford) and Colonel Snyder (Henderson), that there appears to be a traitor in a Paris cell of the French Resistance. The two US officers determine to send Gene Summers (Massie)—a fighter–bomber pilot recently demobbed because of injury and exhaustion who before the war lived some while in Paris, gaining fluent French—to murder the suspected traitor, a process server named Marcel Lafitte (French).

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Commandant Morand (Jacques Brunius) reports the apparent betrayal . . .

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. . . to Major Kimball (John Crawford, left) and Colonel Snyder (Robert Henderson).

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Gene (Paul Massie) reckons he can easily cope with the challenge.

Overseen by his handler, Major “Mac” MacMahon (Albert), Gene is sent to be trained as a spy and an assassin under the tutelage of an unnamed Naval Commander (Justice). He’s taught how to slay Germans without wasting bullets, how to invent lies that will hold up under interrogation and even torture, and so on.

orders-to-kill-5-jr-justice-excels-in-the-role-of-the-naval-commander-primarily-responsible-for-genes-training

James Robertson Justice excels in the role of the unnamed naval commander primarily responsible for training Gene (Paul Massie).

It’s during this section of Orders to Kill that we realize that what we’re watching is less a war movie, however quirky, than a noirish piece. For me the transition became apparent with Continue reading

Witness for the Prosecution (1982 TVM)

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A very good remake of a classic movie!
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UK, US / 102 minutes / color / United Artists Dir: Alan Gibson Pr: Norman Rosemont Scr: John Gay Story: “Traitor’s Hands” (1925 Flynn’s Weekly) and Witness for the Prosecution (1953 play), both by Agatha Christie, and the screenplay for Witness for the Prosecution (1957) by Billy Wilder, Harry Kurnitz and Larry Marcus Cine: Arthur Ibbetson Cast: Ralph Richardson, Deborah Kerr, Beau Bridges, Donald Pleasence, Wendy Hiller, Diana Rigg, David Langton, Richard Vernon, Peter Sallis, Michael Gough, Frank Mills, Michael Nightingale, Peter Copley, Patricia Leslie, Primi Townsend.

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Christie’s play has been filmed several times. The most famous adaptation is quite clearly Billy Wilder’s 1957 movie Witness for the Prosection, featuring Charles Laughton, Elsa Lanchester, Tyron Power and, in what’s effectively an unorthodox version of the femme fatale role, Marlene Dietrich.

Because of the fame of the Wilder adaptation, it’s easy to think it must have been the first. Not so. As far as I can gather, the first movie adaptation was Continue reading

Night Caller, The (1965)

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Noirish Science Fiction?
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vt Blood Beast from Outer Space; vt Night Caller from Outer Space
UK / 84 minutes / bw (though there’s also a later colorized release) / New Art, Armitage, Butcher’s Dir: John Gilling Pr: Ronald Liles Scr: Jim O’Connolly Story: The Night Callers (1960) by Frank R. Crisp Cine: Stephen Dade Cast: John Saxon, Maurice Denham, Patricia Haines, Alfred Burke, Warren Mitchell, Stanley Meadows, Aubrey Morris, Ballard Berkeley, Marianne Stone, Geoffrey Lumsden, Barbara French, Anthony Wager, David Gregory, Romo Gorrara, Robert Crewdson, John Carson, Jack Watson.

night-caller-0-opener

Some while back I came across a reference to this as an intriguing example of a film noir/science fiction crossover. I discovered I’d bought a copy of the thing years ago but never watched it, so out I dug it. And now, finally, the watching’s been done.

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Three scientists at Falsley Park Government Radio and Electronic Research Establishment—they’re just “scientists,” with no specialties itemized—are working away one night at whatever it is non-specialist scientists do that involves a lot of idle oscilloscopes when one of their number, Ann Barlow (Haines), spots something 100 miles above the ground that’s approaching the earth at high speed—over 10,000 miles per hour, in fact. Luckily it slows down, and they’re able to pinpoint where it must have landed.

The other two of the trio are the team leader, Dr. Morley (Denham), and Dr. Jack Costain (Saxon). Ann, being female, is not an out-and-out scientist like the other two. Instead she’s “our analysis expert.” And departmental typist.

Next morning the three go out onto the moors in search of the mystery object, which Ann’s oscilloscope told them must be Continue reading