Originally planning to view auteur Robert Siodmak's Nachts, wenn der Teufel kam today for the first time for the ICM poll of the best films of 1957, my attempt at a viewing got interrupted due to unexpectedly needing to go and sort some things out for friends. Getting home late at night, I grabbed a 1957 film which has been by the TV waiting to get viewed for years (!) and made a call to Interpol.
View on the film:
Made as the wheels on British "genre" cinema were starting to gain traction, the movie offers a glorious preview over what awaited, thanks to co- producer (with Irving Allen) Albert R. Broccoli making his mark, and director John Gilling bringing in future Hammer Horror stars André Morell and Yvonne Romain, an on the cusp of fame Anita Ekberg, and rounding it up with a cameo from Sid James. Closely working with future 007- Connery era cinematographer Ted Moore, director Gilling gives this globe-trotting Film Noir a slick sun-kissed atmosphere by glittering the locations with stylish low-lighting which gives off an "exotic" vibe, and also displays McNally's attempts to stop Sturgis capturing him in the light.
Displaying a sharp eye for stylisation which would later make his Hammer Horror films stand out, Gilling uses dissolves with a real precision in creating a disturbing impression of each murder, and up close and personal camera moves to give the punch-ups Sturgis' takes to locate McNally a frantic, rough and tumble edge. Knotting Sturgis's family into McNally's murderous underworld dealings, the screenplay by John Paxton keeps the pressure from McNally firm with stealth kills on any former associate who tries to help Sturgis out.
Putting her between both sides, Paxton builds up the Film Noir doubt by Sturgis attempting to gain the trust of courier Broger, in the hope that she will turn, and become a courier for McNally's arrest. Brushing off his gentlemen image, Trevor Howard gives a dastardly turn as hard man McNally, whose fists Howard slams against anyone who raises a disagreement. Crossing the globe to nab McNally,Victor Mature gives a very good performance as Sturgis, holding his nose to the grindstone Mature keeps Sturgis simmering with anger to get his revenge. Seductively performing a song number which hints at what was to come with 1958's Screaming Mimi, Anita Ekberg gives a fetching, sultry Femme Fatale twist as Broger, who Ekberg has become filled with nervousness over being caught between McNally and Interpol.
View on the film:
Made as the wheels on British "genre" cinema were starting to gain traction, the movie offers a glorious preview over what awaited, thanks to co- producer (with Irving Allen) Albert R. Broccoli making his mark, and director John Gilling bringing in future Hammer Horror stars André Morell and Yvonne Romain, an on the cusp of fame Anita Ekberg, and rounding it up with a cameo from Sid James. Closely working with future 007- Connery era cinematographer Ted Moore, director Gilling gives this globe-trotting Film Noir a slick sun-kissed atmosphere by glittering the locations with stylish low-lighting which gives off an "exotic" vibe, and also displays McNally's attempts to stop Sturgis capturing him in the light.
Displaying a sharp eye for stylisation which would later make his Hammer Horror films stand out, Gilling uses dissolves with a real precision in creating a disturbing impression of each murder, and up close and personal camera moves to give the punch-ups Sturgis' takes to locate McNally a frantic, rough and tumble edge. Knotting Sturgis's family into McNally's murderous underworld dealings, the screenplay by John Paxton keeps the pressure from McNally firm with stealth kills on any former associate who tries to help Sturgis out.
Putting her between both sides, Paxton builds up the Film Noir doubt by Sturgis attempting to gain the trust of courier Broger, in the hope that she will turn, and become a courier for McNally's arrest. Brushing off his gentlemen image, Trevor Howard gives a dastardly turn as hard man McNally, whose fists Howard slams against anyone who raises a disagreement. Crossing the globe to nab McNally,Victor Mature gives a very good performance as Sturgis, holding his nose to the grindstone Mature keeps Sturgis simmering with anger to get his revenge. Seductively performing a song number which hints at what was to come with 1958's Screaming Mimi, Anita Ekberg gives a fetching, sultry Femme Fatale twist as Broger, who Ekberg has become filled with nervousness over being caught between McNally and Interpol.