“Ten million people in London, and it had to be you.”
UK / 66 minutes / bw / Warner Bros. First National Dir: Michael Powell Scr: Brock Williams Story: Third Time Unlucky (1935) by Laurence Meynell Cine: Basil Emmott Cast: Beatrix Thomson, Patric Knowles, Glennis Lorimer, Reginald Purdell, Allan Jeayes, Frederick Piper, Googie Withers, Mabel Poulton, Billy Watts, Davina Craig, Morris Harvey, Bernard Miles.
The title might make us assume this is a courtroom drama, but in fact this quota quickie—an important stop along the road for director Michael Powell’s early career—is a distinctly noirish piece. In one specific respect it appears to be echoed in Raoul Walsh’s THEY DRIVE BY NIGHT (1940), which had George Raft, Ann Sheridan, Humphrey Bogart and the immortal Ida Lupino as its stars.
Molly (Glennis Lorimer) and Chris (Patric Knowles) make a good team.
There are no comparable stars here, with the exceptions of Patric Knowles—who would soon go on to have a prominent Hollywood career, sometimes playing opposite his friend Errol Flynn—and of course Googie Withers (in a small role), plus Glennis Lorimer, whose short acting career (she died far too early) is eclipsed by the fact that she served as the young woman in the mocked-up version of Thomas Gainsborough’s portrait of Sarah Siddons used as an opening-credits logo by Gainsborough Studios.
Mamie (Mabel Poulton) dances close to Chris . . .
. . . but Joe Andrews (Billy Watts) is her true partner.
Naive paint-company clerk Chris Jansen (Knowles) believes himself in love with floozy Mamie (Poulton), and borrows an engagement ring on approval from Continue reading
Liberté, égalité, fraternité on a prison island!
UK / 74 minutes / bw / Gaumont–British Dir: Walter Forde Pr: Michael Balcon Scr: A.R. Rawlinson, Charles Bennett, Sidney Gilliatt Story: King of the Damned (1934 play) by John Chancellor Cine: Bernard Knowles Cast: Conrad Veidt, Helen Vinson, Noah Beery, Cecil Ramage, Edmund Willard, Percy Parsons, Peter Croft, Raymond Lovell, C.M. Hallard, Allan Jeayes, Percy Walsh.
Noah Beery as Mooche.
Colonel Fernandez (Hallard), commandant of the prison camp on the island of Santa Maria—which is most assuredly not Devil’s Island, for fear of offending the French—is seriously ill, and his daughter Anna (Vinson) flies out to be with him. The friends (uncredited) with whom she travels warn her she may find that her fiancé, who’s also her father’s deputy on the island, Major Ramon Montez (Ramage), has changed a little since last she saw him. Her early time on the island is spent progressively discovering that the man she thought she loved has become a despotic monster:
Anna: “I wish [my father] wouldn’t worry about things when he’s so ill.”
Montez: “Hm. So do I.”
Anna: “Why doesn’t he leave it all to you?”
Montez: “Well, you see, your father and I work on rather different lines. We’ve got three thousand convicts here, and I believe the only way to keep them under is to keep them afraid of us.”
Helen Vinson as Anna Fernandez.
Without Colonel Fernandez’s knowledge, Montez and his sidekick Captain Perez (Walsh) are, to their own considerable profit, dragooning the Continue reading
vt Doomed Cargo
UK / 69 minutes / bw / Gaumont–British Dir: Albert de Courville Scr: Sidney Gilliat, Frank Launder, L. du Garde Peach, Austin Melford Story: The Wrecker (1924 play) by Arnold Ridley and Bernard Merivale Cine: M. Greenbaum Cast: Edmund Lowe, Constance Cummings, Thomy Bourdelle, Henry Oscar, Felix Aylmer, Joyce Kennedy, O.B. Clarence, Mark Lester, Allan Jeayes, Anthony Holles, David Horne, Edwin Laurence, James Harcourt.
An entertaining comedy thriller in the same spirit as Hitchcock’s The Thirty-Nine Steps (1935), complete with a couple thrown together at the outset who spend proceedings bickering and bantering until, inevitably, they finally declare undying love. There’s even a shootout in a theater at the end, although in this instance it’s in a cinema rather than a music hall. During that shootout the audience are watching a supposed Gaumont newsreel (akin to the Pathé newsreels and Pathé Pictorials) recounting many of the events of the plot; Seven Sinners begins in a similar vein, almost in the style of a Pathé Pictorial, headlined CARNIVAL AT NICE.
American PI Edward “Ed” Harwood (Lowe) of the Tankerton agency is playing hooky in Nice at the time of the Carnival when he should be in Scotland helping Caryl Fenton of the Worldwide Insurance Co. of New York to sort out a case there. Dressed as the Devil, in keeping with the carnival spirit, Ed gets loaded and consequently Continue reading