Nothing is as it seems in "The Man Who Finally Died". Figures of evil turn out to be forces of good, and vice versa. Questions with a supposedly limited number of answers turn out to have more alternative outcomes. And even the hero himself is conflicted about his own identity (he was born German, but is now a British citizen). There is an interesting post-WW2 moral complexity to this film, which is also helped by atmospheric black & white photography and a classy supporting cast. The hero is (understandably) a pretty grim guy, but his few jokes score bigtime (when a hotel maid asks him why he wears his sunglasses inside his room, he responds: "I got a bit of dirt in my eye....when I was a boy"). Perhaps my only main objection has to do with the music score, which is sweeping but sometimes overemphatic. Nevertheless, this is an overlooked film that deserves more attention. **1/2 out of 4.
23 Reviews
Seen on Pittsburgh's Chiller Theater in 1976
kevinolzak23 September 2012
1962's "The Man Who Finally Died," released December 1963, was a BBC serial that originally aired in 1959, with this feature version following three years later, with an entirely different cast. Stanley Baker stars as British subject Joe Newman, formerly the German-born Joachim Deutsch, who has believed his father Kurt dead for 20 years, until receiving a phone call from Bavaria claiming to be Kurt Deutsch. Upon arriving, he locates his father's grave before visiting the Deutsch widow, Lisa (Mai Zetterling), currently living in the country home of Dr. Peter von Brecht (Peter Cushing), his every move watched by the local police, plus the insurance investigator (Niall MacGinnis) responsible for Newman's phone call, who believes the deceased still lives. Holds up rather well despite its television origins, thankfully not lost though unseen for decades, reuniting Baker with Peter Cushing five years after 1957's "Violent Playground." Cushing initially appears sympathetic but gradually displays more sinister shadings, but has only one lengthy scene during the film's first half (the von Brecht home is Bray studio's familiar Oakley Court). The fine supporting cast includes Nigel Green, who previously appeared with Cushing in 1960's "Sword of Sherwood Forest," which also featured Niall MacGinnis (playing Friar Tuck), who again supported Cushing in 1966's excellent "Island of Terror." Certainly not a horror film, though it made one appearance on Pittsburgh's Chiller Theater on Aug 7 1976, paired with second feature "The Horror of Party Beach."
Requires close attention
wilvram13 January 2021
This is for the most part an absorbing mystery, one of those where by no means all of the individuals are whom they appear to be. There's a strong cast of British character actors with Niall MacGinnis especially effective as a rather unorthodox insurance investigator. The film loses points by being needlessly confusing with over-reliance on the dialogue at certain stages, and if you're not paying close attention to every word at these times, the leisurely developed narrative will remain somewhat obscure. In particular the scene where Georgina Ward's Maria is introduced (together with the business regarding her late father) should have been presented with greater clarity.
Efficient, if a little stodgy, thriller
Leofwine_draca11 August 2013
THE MAN WHO FINALLY DIED is an early '60s black-and-white conspiracy thriller with enough twists to make even M. Night Shyamalan blush and a great cast of British character actors. Along with underrated leading man Stanley Baker and a typically villainous Peter Cushing, we're graced with the presence of NIGHT OF THE DEMON's Niall MacGinnis, Inspector Nayland Smith himself, Nigel Green, and plenty of others who round out various roles: tough cops, pompous officials, friendly advisers, and the like.
The film itself is one of those 'small town conspiracy' movies where it seems that everyone's in on some secret, apart from the lead of course. This generates plenty of suspense and although the film is rather dated when viewed in a modern light – cosy rather than dangerous – it proves more than adequate entertainment. It also possesses at least one twist I didn't see coming in advance, so there's kudos for that.
The film is a little slow and stodgy in places. It feels like a Bond film on occasion, with Baker arriving in an exotic (well, Germany) destination and attempting to uncover the secrets involving some evil criminal mastermind. The eventual solving of the crime ties into the Cold War in a nicely unexpected way. Yes, I could have done with some more action, some more open peril – the movie's premise is perfect for the odd chase scene, for instance – but it's hard to fault or be too hard on an efficient little thriller like this.
The film itself is one of those 'small town conspiracy' movies where it seems that everyone's in on some secret, apart from the lead of course. This generates plenty of suspense and although the film is rather dated when viewed in a modern light – cosy rather than dangerous – it proves more than adequate entertainment. It also possesses at least one twist I didn't see coming in advance, so there's kudos for that.
The film is a little slow and stodgy in places. It feels like a Bond film on occasion, with Baker arriving in an exotic (well, Germany) destination and attempting to uncover the secrets involving some evil criminal mastermind. The eventual solving of the crime ties into the Cold War in a nicely unexpected way. Yes, I could have done with some more action, some more open peril – the movie's premise is perfect for the odd chase scene, for instance – but it's hard to fault or be too hard on an efficient little thriller like this.
Mai Zetterling was wasted
christopher-underwood5 June 2014
This started really well and up until about halfway I was totally involved and enjoying trying to work out, as was Stanley Baker's character, just what was going on. But then around the time we visit a cemetery and there is much discussion about whether or not a body should be interred, I begin to lose it.
I think in a similarly confusing giallo there would be much more vivid and colourful aspects to maintain an interest that here just waned. It ends well enough and Baker is at his very best here although I thought Cushing only just held his end up. Mai Zetterling was wasted in a lousy role.
I think in a similarly confusing giallo there would be much more vivid and colourful aspects to maintain an interest that here just waned. It ends well enough and Baker is at his very best here although I thought Cushing only just held his end up. Mai Zetterling was wasted in a lousy role.
A conventional British thriller.
searchanddestroy-12 November 2008
Warning: Spoilers
In fact, it would be rather an espionage British film. Post WW2, of course.
We never really believe in this poor man's BAD DAY AT BLACK ROCK, where Stanley Baker plays a British citizen who returns to Germany to find his missing father, understand why and where he disappeared.
I expected much more from this film, where I could AT LAST watch the face to face between Stanley Baker and Peter Cushing.
I don't think they ever played together again. But perhaps I am wrong.
A little disappointment I must admit, even with the gorgeous Mai Zetterling in the game.
The story is not too hard to follow, a tale about rocket scientist impersonating Stanley Baker's missing father.
But it's worth to be seen.
We never really believe in this poor man's BAD DAY AT BLACK ROCK, where Stanley Baker plays a British citizen who returns to Germany to find his missing father, understand why and where he disappeared.
I expected much more from this film, where I could AT LAST watch the face to face between Stanley Baker and Peter Cushing.
I don't think they ever played together again. But perhaps I am wrong.
A little disappointment I must admit, even with the gorgeous Mai Zetterling in the game.
The story is not too hard to follow, a tale about rocket scientist impersonating Stanley Baker's missing father.
But it's worth to be seen.
It took a bit of rocket science, but I finally got it.
mark.waltz23 May 2022
Warning: Spoilers
A call out of the blue sends the British Stanley Baker to Bavaria to check out the news that his father, whom he believed had died years before, has actually just recently died. Now if that isn't news enough, when he arrives, he begins to draw hints from the goings-on of the estate that his father is indeed alive still and being hid from him. Of course, everybody (including Peter Cushing!) Insists that's not the case, and some people, when they discover his identity, are not pleased to see him. The audience, if they followed along so far, begin to either go in one of two directions, either on the something else or to sit and take in every visual and every word to figure it all out.
I'm glad I chose the second option because while I was perplexed and confused a lot of the time, when it was all wrapped up, I could honestly say, okay that made some sense. This certainly could have been a lot clearer in nature, but thanks to good performances and excellent production design and little hints dropped here and there to help the viewer along, I finally got back on track. Certainly not everybody is going to have that fortune, and had I not been prepared for such a overly intelligent narrative, I would have lost interest because I would have just felt too stupid to bother or too frustrated to care. At least it's better than a later equally complex post World War II drama, "The Holcroft Agreement" (1984), and very similar in themes. The ending is quite jarring.
I'm glad I chose the second option because while I was perplexed and confused a lot of the time, when it was all wrapped up, I could honestly say, okay that made some sense. This certainly could have been a lot clearer in nature, but thanks to good performances and excellent production design and little hints dropped here and there to help the viewer along, I finally got back on track. Certainly not everybody is going to have that fortune, and had I not been prepared for such a overly intelligent narrative, I would have lost interest because I would have just felt too stupid to bother or too frustrated to care. At least it's better than a later equally complex post World War II drama, "The Holcroft Agreement" (1984), and very similar in themes. The ending is quite jarring.
And I was not much the wiser when the film finally ended!
mallaverack10 January 2021
What a strange movie this turned out to be.
I found the conclusion most unsatisfying considering the histrionics from the majority of characters, particularly from the lead Baker and the Inspector (Portman) who swung inexplicably between moods of benevolence and vile-temperedness. Who was in whose grave and who wasn't buried at all? Was Cushing's character that of a mad scientist or a loyal and concerned friend of Baker's father? Characters take turns at pointing a gun at each other, none ever convincingly indicating they would actually use it!
After all the intrigue and menacing dialogue (and lots of it) the explanation of the scientist (who wanted to be a nonentity) towards the end of the film just left me bewildered.
Maybe he should have been the one pushed off the train?
Too much talk and rather boring
malcolmgsw3 January 2016
The problem with this film is that there is just much talk.Furthermore the pace is almost find real.Everything is an unexplained mystery,even why Stanley Baker,,with an eye complaint keeps on putting on and taking off his dark glasses.Some of the characterisation seem strange to say the least.Eric Portman plays the local police detective as if he was a member of the Gestapo.You expect him to order Nigel Green to give Stanley the once over with a piece of rubber hose.There is so little explanation of exactly what has happened that you struggle to make any sense of the film.The music tends to be far too intrusive.It is rather frustrating not to be able to understand the plot till the last 10 minutes.However even then the motivation of the characters remains unclear.
Pedestrian
hwg1957-102-26570424 March 2017
Warning: Spoilers
A man prompted by a phone call returns to Germany where he was born in search of his father whom he had supposed dead. But is he? The film answers the question but in a talky, pedestrian way. There are twists and turns towards the end that perk up the film but mostly it is unexciting which is a shame as it had lots of potential. The music score tries to be thrilling but becomes laughably over intense.
Stanley Baker gives a one note performance, Eric Portman gives a strange performance and Mai Zetterling doesn't do much. Peter Cushing is good as always as an ambiguous doctor, Nigel Green as a taciturn policeman is scary and Niall MacGinnis steals the film as an insurance investigator. Familiar players like Alfred Burke and Brian Wilde have minor but effective roles.
The best thing is the sparkling black and white photography and the accomplished use of the widescreen format.
Stanley Baker gives a one note performance, Eric Portman gives a strange performance and Mai Zetterling doesn't do much. Peter Cushing is good as always as an ambiguous doctor, Nigel Green as a taciturn policeman is scary and Niall MacGinnis steals the film as an insurance investigator. Familiar players like Alfred Burke and Brian Wilde have minor but effective roles.
The best thing is the sparkling black and white photography and the accomplished use of the widescreen format.
How Can You Care For Twenty Years?
boblipton16 February 2020
Stanley Baker heads to the mountains of Germany. His father, whom he thought dead for twenty years, has been living there ever since he sent Baker as a boy to live with his mother's people as an Englishman named 'Newman' instead of 'Deutsch'.... it's all very symbolic, you see. Baker arrives just after the funeral, but was there a funeral? Was that his father? He doesn't think so, despite everything Doctor Peter Cushing, half-sister Mai Zetterling, and officials like Eric Portman say.
For a while I thought I was looking at what would turn out to be a remake of THE THIRD MAN without Dutch Angles, pursuit through the sewers, or Orson Welles' whimsical musings on the cuckoo clock. Alas, it's a well performed Cold War drama in which everything turns out to be more important than it seemed, and yet less important to the characters involved, and so less important to me as a viewer. Perhaps there is something lacking in me that I cannot be moved by the fate of large masses of people, but care desperately about the individual and those close to me. It's not fair, I know. Yet as a Jew who lost about a third of his family in the Holocaust to an uncaring world, how am I supposed to feel sympathy when that world turns about and demands my sympathy?
Well, I suppose some people care, even if they come to care too late, and some are just tired and ready to go into the darkness and be done with the whole charade. That's what's going on here, in an ornately overwritten movie. By the time Stanley Baker figured out what was going on, I was too exhausted to care. Perhaps the movie could have been edited a little tighter. Or perhaps that is what I am supposed to feel.
For a while I thought I was looking at what would turn out to be a remake of THE THIRD MAN without Dutch Angles, pursuit through the sewers, or Orson Welles' whimsical musings on the cuckoo clock. Alas, it's a well performed Cold War drama in which everything turns out to be more important than it seemed, and yet less important to the characters involved, and so less important to me as a viewer. Perhaps there is something lacking in me that I cannot be moved by the fate of large masses of people, but care desperately about the individual and those close to me. It's not fair, I know. Yet as a Jew who lost about a third of his family in the Holocaust to an uncaring world, how am I supposed to feel sympathy when that world turns about and demands my sympathy?
Well, I suppose some people care, even if they come to care too late, and some are just tired and ready to go into the darkness and be done with the whole charade. That's what's going on here, in an ornately overwritten movie. By the time Stanley Baker figured out what was going on, I was too exhausted to care. Perhaps the movie could have been edited a little tighter. Or perhaps that is what I am supposed to feel.
A well-made thriller with a touch of Cold War drama
Mbakkel225 April 2017
Warning: Spoilers
Joe Newman (formerly Joachim Deutsch) is the son of a German father and British mother. One day he receives a phone call from a man who says he is father, Kurt Deutsch. The man asks him to visit him in his home town in Bavaria. Joe is surprised, because he has long believed that his father was killed during the Second World War. It turns out that Kurt had survived the war. He had been imprisoned in a Soviet concentration camp, but escaped with his friend, a scientist. The latter was, however, shot to death. Back in Germany he moved into the large mansion of Dr. van Brecht and married a younger woman. Joe is told that his father had passed away recently.
When it is revealed that Kurt was buried as a catholic, although he was a protestant, Joe begins to question the circumstances regarding his father's death. When it is revealed that a young Eastern European refugee woman was the only attendee at his funeral, Joe believes that it was her father who was buried in Kurt's grave instead.
Brenner, an investigator for an insurance company, tells Joe that Kurt indeed is alive. His wife and Dr. van Brecht has staged Kurt's death because of insurance fraud.
The local police also seems to work against him. Well, everything is not what it seems. It is towards the end we get to know the truth.
A well-made thriller and a very good cast, although Mai Zetterling has almost nothing to do. Peter Cushing is playing a doctor, although not one of his regular "mad scientists". Nial MacGinnis is excellent as the ambiguous investigator for an insurance company. Eric Portman is good as the police officer, likewise Nigel Green as his assistant.
When it is revealed that Kurt was buried as a catholic, although he was a protestant, Joe begins to question the circumstances regarding his father's death. When it is revealed that a young Eastern European refugee woman was the only attendee at his funeral, Joe believes that it was her father who was buried in Kurt's grave instead.
Brenner, an investigator for an insurance company, tells Joe that Kurt indeed is alive. His wife and Dr. van Brecht has staged Kurt's death because of insurance fraud.
The local police also seems to work against him. Well, everything is not what it seems. It is towards the end we get to know the truth.
A well-made thriller and a very good cast, although Mai Zetterling has almost nothing to do. Peter Cushing is playing a doctor, although not one of his regular "mad scientists". Nial MacGinnis is excellent as the ambiguous investigator for an insurance company. Eric Portman is good as the police officer, likewise Nigel Green as his assistant.
...and thereby gave life to a convoluted mystery!
Coventry7 April 2022
Many, if not most, of the reviews I encounter here state that "The Man Who Finally Died" is heavily influenced by - or even blatantly imitating - the Orson Welles' classic "The Third Man". Maybe so, but I haven't seen that one (yet) and therefore cannot judge. What I can say, however, is that the plot is great and incredibly absorbing, regardless of which film brought it first, and that this isn't a low-keyed type of rip-off but a stylish and polished British 60s effort with more than adequate production values and ditto acting performances.
As a young boy, John Newman (born: Joachim Deutsch) fled from Nazi-Germany to England with his mother, and always assumed his father died in the War. 20 years later, he receives an anonymous call from Bavaria stating his father still alive, but when he arrives there, John learns - via his young stepmother he didn't knew existed - that his father passed away just a week ago from a stroke. Other people tell him his father died two years ago, and lots of other contradictions. When did Kurt Deutsch die? 20 years ago, 2 years ago, or just the week before? Or perhaps he's still alive, even? And since everybody is so reluctant to help or even inform John, who called and lured him to Bavaria?
As you can tell, "The Man Who Finally Died" is a convoluted puzzle that requires full, constant, and devoted attention in order not to miss the tiniest clue or detail. It's extremely compelling, though, with a couple of ingenious and unforeseeable twists and broodingly uncanny atmosphere. The Bavaria settings and post-WWII references are excellent, and of course it's always a delight to watch fantastic British actors like Peter Cushing and Nigel Green. Lead star Stanley Baker certainly isn't my favorite performer, and quite often he looks very silly in this film, what with his unnecessary sunglasses and he's constant "I-don't-have-a-clue-what's-happening-here" facial expressions.
As a young boy, John Newman (born: Joachim Deutsch) fled from Nazi-Germany to England with his mother, and always assumed his father died in the War. 20 years later, he receives an anonymous call from Bavaria stating his father still alive, but when he arrives there, John learns - via his young stepmother he didn't knew existed - that his father passed away just a week ago from a stroke. Other people tell him his father died two years ago, and lots of other contradictions. When did Kurt Deutsch die? 20 years ago, 2 years ago, or just the week before? Or perhaps he's still alive, even? And since everybody is so reluctant to help or even inform John, who called and lured him to Bavaria?
As you can tell, "The Man Who Finally Died" is a convoluted puzzle that requires full, constant, and devoted attention in order not to miss the tiniest clue or detail. It's extremely compelling, though, with a couple of ingenious and unforeseeable twists and broodingly uncanny atmosphere. The Bavaria settings and post-WWII references are excellent, and of course it's always a delight to watch fantastic British actors like Peter Cushing and Nigel Green. Lead star Stanley Baker certainly isn't my favorite performer, and quite often he looks very silly in this film, what with his unnecessary sunglasses and he's constant "I-don't-have-a-clue-what's-happening-here" facial expressions.
Abominable soundtrack and cartoonish characters
dierregi10 July 2022
One of the worst movies I ever had to endure. The labyrinthine plot wanders around Germany and it involves:
- German prisoners escaped from the USSR,
- the son of one of said soldiers emigrated to England and calling himself Newman
- a conspiracy involving a bunch of shady Germans characters
- a shouting, wildly overacting German police inspector (from his stance maybe an ex-SS), and
- an abominable, overloud, omnipresent and dated soundtrack, relying on a monstrous organ sound (so very 60s) and clashing cymbals underlying the tension.
Over the Top
bnwfilmbuff22 April 2017
Overly melodramatic tale of a man (Stanley Baker) called by his father, whom he believed to be dead, to visit him without giving a reason. When he arrives, he finds the father has died -- but has he really? This is fairly engrossing story that is puzzling to determine what is really going on. Unfortunately, some of the confusion is the result of many of the actions by the characters being largely inexplicable. Stanley Baker, who suspects his father did not die because of Mai Zetterling's (in the role of the dead father's wife) strange behavior, is wound so tight he seems ready to explode every moment he's on camera. Not far behind is Eric Portman in the role of the inspector, who just explodes several times almost without cause. There just didn't seem to be any direction. Mai Zetterling seemed confused. Unfortunately, blaring music at suspenseful points in the film ruins some of the intrigue. I liked the way the movie was shot but the acting was just mediocre probably due to the lack of direction. Still it's an interesting curiosity and a fun, if somewhat frustrating, viewing.
Shading Stanley Baker
TheFearmakers18 March 2021
Not only is THE MAN WHO FINALLY DIED the second movie where Niall MacGinnis has a gun drawn on a train during the climax following CURSE OF THE DEMON, but THE THIRD MAN has been knocked-off once again...
And this time... despite a horribly intrusive, melodramatic harpsichord hammering like lightning following a horror film revelation... it's a pretty good effort as former German child now adult British citizen/jazz pianist Stanley Baker returns to Germany after getting a mysterious call about his father, who he thought was dead twenty-years ago, and is now dead again, only it happened a week earlier...
And as this effective mystery thriller progresses, the dad, like Orson Welles's Harry Lime, could have been involved in some bad things, covered up by a doctor played by Peter Cushing (protecting widow Mai Zetterling and directed by Hammer's Quentin Lawrence, and having co-starred with Baker in VIOLENT PLAYGROUND), while also helping gorgeous ingenue Georgina Ward, whose father was buried in the same grave that, well...
There are too many twists to count or spoil, but Baker, donning Ray Charles-like sunglasses even indoors, goes from place to place in his usual strongarm, no-nonsense fashion, only a bit more vulnerable, and deliberately confused, like the audience.
And this time... despite a horribly intrusive, melodramatic harpsichord hammering like lightning following a horror film revelation... it's a pretty good effort as former German child now adult British citizen/jazz pianist Stanley Baker returns to Germany after getting a mysterious call about his father, who he thought was dead twenty-years ago, and is now dead again, only it happened a week earlier...
And as this effective mystery thriller progresses, the dad, like Orson Welles's Harry Lime, could have been involved in some bad things, covered up by a doctor played by Peter Cushing (protecting widow Mai Zetterling and directed by Hammer's Quentin Lawrence, and having co-starred with Baker in VIOLENT PLAYGROUND), while also helping gorgeous ingenue Georgina Ward, whose father was buried in the same grave that, well...
There are too many twists to count or spoil, but Baker, donning Ray Charles-like sunglasses even indoors, goes from place to place in his usual strongarm, no-nonsense fashion, only a bit more vulnerable, and deliberately confused, like the audience.
The Man who Finally Died
henry8-38 June 2021
Baker returns to Bavaria upon learning that his father, who he believed had died 20 years ago might still be alive. On arriving at the local town he is faced with resistance from all sides.
Enjoyable British mystery which, whilst a bit dated, is a good story with various twists so you never know until the end who the baddies really are and what is going on. The cast of British stalwarts are all pretty good, particular Eric Portman as the stern police chief and Baker is a solid enough lead despite the fact he's rather angry and shouty in every scene.
Enjoyable British mystery which, whilst a bit dated, is a good story with various twists so you never know until the end who the baddies really are and what is going on. The cast of British stalwarts are all pretty good, particular Eric Portman as the stern police chief and Baker is a solid enough lead despite the fact he's rather angry and shouty in every scene.
And I always thought Stanley Baker could act.
gam319 July 2022
Warning: Spoilers
I suppose one could blame the director (Quentin Lawrence), but I am going to put it on Mr. Baker. He is the worst part of this film. The story is quite well told. With all the twists and turns as we go through. But the. Joe Newman screams through the whole movie. In almost every scene he is in his acting is jarring the anger that he emotes with out any known reason.
The love story is also ruined by this over acting, as it is hard to see any intimacy when one of the couple is yelling each line.
The love story is also ruined by this over acting, as it is hard to see any intimacy when one of the couple is yelling each line.
The film that finally ended!
alexanderdavies-993821 December 2018
The majority of the cast from this film were worth far more, than making this utter piffle. Stanley Baker was a very talented actor and an effective leading man. I can't understand what could have possessed him to appear in "The Man Who Finally Died." The year the film was released, was when that classic "This Sporting Life" was unleashed. Baker was briefly linked with the latter film and should have been cast.
Peter Cushing and Nigel Green are thoroughly wasted throughout the entire film. They have nothing to offer. In all fairness, they can hardly be blamed for the alarmingly poor dialogue.
The plot is supposed to be about intrigue and espionage. Sadly, there is precious little of either. The only bit of intrigue I can think of, is how Stanley Baker acquired his latest bird's nest! Not a convincing one (his never were).
The film merely rambles along with no sense of continuity or co-ordination. At 96 minutes, the film wouldn't even make for a respectable 25 minute juvenile programme!
This is only worth having if you are a fan of any of the actors involved.
A poser
jshorney-129 October 2020
Warning: Spoilers
Did they hand out explanation booklets to audiences? I'm still not entirely clear who they buried at the end, given that "the man who finally died" was said to have died somewhere unknown in the mountains in flight from the Soviet Union.
The Third Man Finally Dies.
morrison-dylan-fan11 November 2017
Warning: Spoilers
2012:
Allowing my copy of the delightfully bonkers Peter Cushing flick Corruption (also reviewed) to play on after the credits,I caught an enticing 5 minutes from a TV showing of a Film Noir co-starring Cushing. Checking for the title online,I was disappointed to find no DVD,or even Video of it.
2017:
Finding out that UK DVD company Network were holding a flash sale,I rushed over to place an order.
Preparing to order the enjoyable 1957 British Film Noir The Hypnotist (also reviewed),I was thrilled to see Cushing's Noir appear on the same page,which led to me finally seeing the man die.
View on the film:
Finding the title from fuzzy TV showings,Network present a perfect transfer,with the soundtrack and the picture quality being pristine.
Shot in the UK, director Quentin Lawrence & cinematographer Stephen Dade send Newman to an excellent, disorientating Film Noir town,where razor-sharp black and light low-shadows fill the space of the small population.
Unearthing the truth about Newman's family with a quirky, spidery score by Philip Green, Lawrence slants the paranoia on Newman with ultra-stylized pans across to strangers with an eye on his search,against a washed-out sky that rains an eerie atmosphere on Deutsch's grave.
Based on a 7-part British mini-series, (sadly not seen since airing in 1959)the screenplay by Lewis Greifer and Louis Marks adapt the show into a tightly coiled stranger in a strange land Film Noir,as Newman's determination to dig up the secrets of the town leads to brash confrontations with locals who want the truth kept six feet under.
Whilst openly borrowing from The Third Man a number of times,the writers compose an excellent, distinctive tone that tracks the revelation of the ending to the post-WWII pessimism of Film Noir,with Newman's discovery crossing the WWII isolation that haunts the town, with the shivering terror of the Cold War.
Kicking the cobblestones lining the town to the side, Stanley Baker gives a terrific performance as Newman,who Baker gives a Film Noir loner thirst to uncovering the truth about his dad,while legendary character actors Eric Portman,Nigel Green and Brian Wilde listen in on his paranoid questions.
Hovering above Mai Zetterling's withdrawn widow Lisa, Peter Cushing gives a great performance as Brecht,that Cushing brims with a horror ambiguity over what Brecht knows about the man who finally dies.
Allowing my copy of the delightfully bonkers Peter Cushing flick Corruption (also reviewed) to play on after the credits,I caught an enticing 5 minutes from a TV showing of a Film Noir co-starring Cushing. Checking for the title online,I was disappointed to find no DVD,or even Video of it.
2017:
Finding out that UK DVD company Network were holding a flash sale,I rushed over to place an order.
Preparing to order the enjoyable 1957 British Film Noir The Hypnotist (also reviewed),I was thrilled to see Cushing's Noir appear on the same page,which led to me finally seeing the man die.
View on the film:
Finding the title from fuzzy TV showings,Network present a perfect transfer,with the soundtrack and the picture quality being pristine.
Shot in the UK, director Quentin Lawrence & cinematographer Stephen Dade send Newman to an excellent, disorientating Film Noir town,where razor-sharp black and light low-shadows fill the space of the small population.
Unearthing the truth about Newman's family with a quirky, spidery score by Philip Green, Lawrence slants the paranoia on Newman with ultra-stylized pans across to strangers with an eye on his search,against a washed-out sky that rains an eerie atmosphere on Deutsch's grave.
Based on a 7-part British mini-series, (sadly not seen since airing in 1959)the screenplay by Lewis Greifer and Louis Marks adapt the show into a tightly coiled stranger in a strange land Film Noir,as Newman's determination to dig up the secrets of the town leads to brash confrontations with locals who want the truth kept six feet under.
Whilst openly borrowing from The Third Man a number of times,the writers compose an excellent, distinctive tone that tracks the revelation of the ending to the post-WWII pessimism of Film Noir,with Newman's discovery crossing the WWII isolation that haunts the town, with the shivering terror of the Cold War.
Kicking the cobblestones lining the town to the side, Stanley Baker gives a terrific performance as Newman,who Baker gives a Film Noir loner thirst to uncovering the truth about his dad,while legendary character actors Eric Portman,Nigel Green and Brian Wilde listen in on his paranoid questions.
Hovering above Mai Zetterling's withdrawn widow Lisa, Peter Cushing gives a great performance as Brecht,that Cushing brims with a horror ambiguity over what Brecht knows about the man who finally dies.
I just couldn't do it
awalkerpotts3 November 2019
Seriously never been so annoyed with the opening of a film before! The opening scene is accompanied by an annoying bell ringing in the background that seems to never end, then the second scene is also accompanied by an over the top film score which. Had to switch off as I was so agitated I couldn't go on watching.
Sag mir wo mein Vater ist.....
ulicknormanowen3 April 2023
Very good thriller , with many sudden new developments , with a cast against type Stanley baker ; the film may remind you of Asquith's "libel " starring Dirk Bogarde : the subject of a possible imposture is common to both movies .They deal with the post-WW2 era at a time where nothing was forgotten : after all ,this missing dad might be an ex-torturer ;listen to the conversation between Cushing and Zetterling : she says she's never committed any crime ,but his answer reflects the guilt of a defeated country;besides he has probably blackmailed the young refugee who ,in her camp , desperately needs papers to be a full citizen .But Lisa the hero's stepmother , married the ex-officer,because her mother urged her to do so , so as to both of them could get by.
The hero is overtaken by events and seems victim of a big conspiracy ; the places are hostile: the desirable Gothic house, the catholic cemetery where his father was interred (whereas he's a protestant). The fact that he anglicized his name (Neumann/Newmann) is revealing : he wants to know the truth but he's afraid of what he may learn ;too bad Mai Zetterling 's character was given so little scenes ;on the other hand, Harold Scott ,on the train, is excellent as a worn-out old man....
It may be far-fetched ,but it's the rule of the game of the thriller ; as Hitchcock would have said, it's the "Mac Guffin" which matters and suspense is sustained till the end .
The hero is overtaken by events and seems victim of a big conspiracy ; the places are hostile: the desirable Gothic house, the catholic cemetery where his father was interred (whereas he's a protestant). The fact that he anglicized his name (Neumann/Newmann) is revealing : he wants to know the truth but he's afraid of what he may learn ;too bad Mai Zetterling 's character was given so little scenes ;on the other hand, Harold Scott ,on the train, is excellent as a worn-out old man....
It may be far-fetched ,but it's the rule of the game of the thriller ; as Hitchcock would have said, it's the "Mac Guffin" which matters and suspense is sustained till the end .
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