Neil-117 Reviews

The Diplomatic Corpse (1958)

Lightweight detective story

[4/10 · 16 August 2006]

BOY!!! yells the newspaper editor. The meekly subservient copy-boy dashes past the blonde fashion reporter at her typewriter (male reporters don't seem to have typewriters) while the diplomatic correspondent serves tea at his desk from a china teapot.

Ah what bliss to make movies in the 1950s, when every cliché was still fresh and nobody questioned the established social order. This flimsily plotted movie is a perfect example of its type, in which foreign crooks are pursued by London newspaper reporters and police to a highly predictable ending.

It is undemanding and formulaic but quite enjoyable as a late night time-filler.

One Way Out (1955)

Short but profound

[6/10 · 3 August 2006]

A very short movie with low production standards, but a story worthy of Shakespeare. It's a profound tragedy played in standard cops and robbers costume. Quick, somebody buy this story and do a modern remake! A policeman faced with deep moral choices finds that once he's set foot on the path of corruption he is trapped by an ever more complex web of lies and intrigue. A lifetime of personal honor is at stake and we wonder if redemption is possible. All is revealed in a dramatic ending.

Anyone able to sit still and concentrate for just an hour will be thoroughly rewarded. The ending is indeed sudden and possibly surprising, but not hard to understand.

Dirty Work (1934)

Knockabout farce

[4/10 · 20 May 2002]

The humor is mainly in the dialog, which is a constant stream of puns, ambiguity and double entendres, supported by chaotic action with many semi-slapstick sight gags. The characters are all amusing stereotypes and the plot is definitely secondary to all of the above. The whole thing is totally lighthearted fun of a rather dated kind which would appeal to those who appreciate the old silent comedies; I'd only recommend this if you are in that kind of mood.

The Heart Within (1957)

The heart within is the same, despite the skin color.

[5/10 · 6 May 2002]

A murder suspect, played by Earl Cameron, is a West Indian immigrant who must depend for help on white Londoners. It's an early attempt to deal with the racial tensions provoked by the influx of immigrants to Britain from less affluent parts of the former British Empire after the second world war. Child actor David Hemmings, as Danny, easily outshines most of the other characters.

It's Not Cricket (1949)

Flashes of brilliance, and hardly any cricket.

[5/10 · 25 April 2002]

This spoof on the spy and detective genres is patchy but contains some flashes of humorous inspiration which still appeal more than half a century later. I had about half a dozen genuine belly laughs over the absurd antics of Otto the incompetent spy, Bright and Early the incompetent private detectives and a string of pompous, self-important British stereotypes. There's an awful lot of slapstick in between the occasional clever lines and you'll need to be a bit of a Marx Brothers or Buster Keaton fan to appreciate this minor British comedy to the full. But still a little better than much of what passed for comedy around this time.

Oh, and for all you folk in the USA, you'll only need to come to grips with about 60 seconds of actual cricket!

Madonna of the Seven Moons (1945)

Don't read the plot summary.

[5/10 · 30 March 2002]

You're best to go into this one absolutely blind, as any knowledge of the plot will spoil it for you. For the first 15 minutes or so the audience is kept completely in the dark as to what this movie is even about. Gradually a mystery begins to take shape and then the rest of the movie draws us in to see where it leads.

The early scenes have a somewhat over-the-top Gothic quality which could put some viewers right off, but patience pays; the mood changes and the rest of the movie becomes quite intriguing.

Here's a slight hint – readers of romantic novels will definitely enjoy it, but that should not deter anyone else.

Great Guy (1936)

Small but important movie

[6/10 · 30 March 2002]

What does this movie have in common with The Godfather, the Wild West or even Superman? Well, it comes right down to truth and justice - whether they really are the American Way or whether corruption and violence have gnawed to the core of democratic society and made it rotten. Second only to sex, institutionalized corruption has been just about the biggest issue for Hollywood right through its history. And rightly so as, the battle to resist it is seemingly never finished.

That's a big build up for a small movie. Great Guy is just a simple story about one man who tries to make a difference and who takes a lot of personal risks in doing so. And let's face it, the Bureau of Weights and Measures is hardly the most glamorous place for a story. But James Cagney's character Johnny Cave uses his brains, his fists and a lot of Attitude to try setting things straight and I for one am grateful to him and others like him.

You're in the Army Now (1937)

Tries hard but could do better.

[3/10 · 26 March 2002]

You'll either love it or hate it. John Mills probably hated it, playing a decidedly secondary role as British straight man to Wallace Ford's eccentrically comic Yankee soldier who has somehow found his way into the British army. Ford's wise-cracking character steals every scene and the only question is whether he'll also steal John Mills' girl.

From its outset the movie tries to achieve too much - it wants to be a comedy, a romance, a serious drama and a military propaganda piece. It's hard to strike the right balance between so many competing objectives and the inevitable result is that it does not achieve distinction in any ofthem.

Just one of the numerous imbalances in the movie is the inclusion of too many lengthy items of newsreel footage showing ranks of military horsemen and precision marching foot soldiers training in Britain in the late 1930s. These skills seem woefully unsuitable for the imminent mechanized blitzkrieg about to engulf Europe as the movie was being made. It's sad confirmation of the adage that every army is only prepared to fight its previous war.

Mr. Emmanuel (1944)

Warning of the Holocaust - but too late.

[3/10 · 6 March 2002]

The big mystery about this movie is its release date of 1944. The movie is based on Louis Golding's popular novel `Magnolia Street' from the early 1930s, which dramatized the persecution of Jews in Nazi Germany before the war. So why turn the novel into a movie in 1944 near the end of the war, when the Holocaust had already happened and the persecution during the 1930s had been massively overtaken by later events? True, even in 1944 the western public may not have been aware of the full horrors of the Holocaust , but they were certainly aware that things had deteriorated far beyond the problems of a decade earlier. One can only assume that this movie might have been sitting in storage for a good many years before anyone had the courage to release it, and by then it had become so outdated as to be almost irrelevant.

Of course one can't question it's good intentions, but it's certainly no masterpiece. The main character is a childishly naive old man who blunders from one error of judgment to another like a highly principled Mr Magoo, recklessly putting himself and others in the path of danger.

Perhaps it did some good in its day, helping to prepare the public for the vastly greater horrors about to be revealed. But if it's holocaust history that you want, you might as well face the harsh reality which is now readily available in books or museums, instead of getting sentimental over this misty-eyed fantasy.

The Fire Raisers (1934)

Greed is fun, but is it good for you?

[5/10 · 5 February 2002]

Apparently a fire raiser is insurance jargon for an arsonist engaged in insurance fraud. And there are plenty of fire raisers from all levels of society in this movie which combines action/adventure with an interesting moral dimension.

Leslie Banks plays a slick insurance investigator who walks both sides of the legal line to make fast bucks in a corrupt industry. Much of the movie is spent in glamorous portrayal of his unscrupulous business activities and trendy lifestyle. One of the main strengths is the fast moving, cynical banter between the characters which creates a sense of their decadent lifestyles lived out against a background of unrestrained, completely amoral capitalism. No doubt this was a powerful image in the midst of the Great Depression when this movie was made.

But so much time is spent tantalizing us with the fruits of dirty business deals that it comes as a sudden surprise near the end of the movie to discover that there is a moral dimension. Because the ground has not been prepared, the main character's late struggles with his conscience may seem a little unconvincing.

For social history enthusiasts, there are some quaint historical shots of the London Fire Brigade and the British horse racing industry in action during the 1930s to lend some authenticity to this morality play.

Boys in Brown (1949)

Star-studded cast but dated story.

[5/10 · 31 January 2002]

Some great British actors were building their career foundations in this drama about the pressures of life both inside and outside a Borstal reform institution. In particular, Dirk Bogarde makes an excellent scheming manipulator of his fellow inmates while Richard Attenborough is his naive prey.

The Borstal governor and his staff lament that the young men in their charge won't try harder to become good citizens, while the young inmates themselves can't see beyond peer pressure and adolescent rebellion - that much at least hasn't changed since 1949.

But the passage of time has not served this movie well. Its main interest now is historical, in the very early performances of future superstars and in documenting a vanished way of British life and values. We've all seen a multitude of tough prison movies made in later years and in their light this one seems rather pale.

Lisbon (1956)

Beautifully filmed romantic crime thriller.

[8/10 · 30 January 2002]

Elegant is the only word to describe this wonderful example of 1950s film-making at its best. Art direction is usually one of those obscure technical credits nobody ever bothers about, but in this case the entire movie is a feast for the eyes thanks to clever art direction using subtle shades of blue and brown to reflect the beautiful natural locations in Portugal. Almost every frame is a painting in its own right and the movie is worth watching just for its sumptuous looks alone.

Against this delightful visual backdrop, a complex double/triple-cross crime story is allowed to unfold at a leisurely pace as the viewer is gradually let in on the intricacies of the plot. Characters and motives also develop with the story and by its conclusion little is what it first seemed. Claude Rains, Maureen O'Hara and Ray Milland (who was also director and associate producer) are each excellent in their roles. Claude Rains in particular as a raffishly handsome crime boss with impeccable breeding is both lovable and chilling. Ray Milland has all the women falling at his feet, and not without reason. Maureen O'Hara is alternately tough and romantic as we see her character gradually revealed.

Movie buffs might even see some tongue in cheek allusions to the plot of Casablanca, particularly in the final scene, as this cleverly crafted story unfolds. There's certainly something to please everyone. I'm a person who rarely enjoys movies made in the 1950s because of the stifling social values of the era, but for me Lisbon has been a revelation of the artistic heights which could be achieved in that era when the movie makers stopped trying to preach political and social values and just did what they were good at.

Penny and the Pownall Case (1948)

Tongue in cheek spy yarn.

[6/10 · 15 January 2002]

This is a delightful wartime comedy in which a bimbo fashion model outsmarts a gang of Nazi supporters operating in Britain. Fortunately for British morale at the time, Penny spends a great deal of time changing her clothes in front of the camera. The story is really a mere excuse to parade this good looking young woman on screen, but it's done ever so tastefully and with tongue firmly in cheek. Ironically, future sex symbol Diana Dors is cast as a dowdy secretary at this early stage of her career.

When the Bough Breaks (1947)

Not just for women.

[6/10 · 13 December 2001]

When this movie was made, the position of a young single working mother would have been just about too scandalous to contemplate. The movie provides a very sympathetic portrayal of the difficulties which at that time made adoption a common outcome. We also see how difficult it can be to live with the adoption decision over time, and how many implications there can be even years later. Some of the events may seem a little unlikely today due to changing attitudes and laws, but the calm and unsensational approach of this movie makes it more than a mere tear-jerker.

Fly Away Peter (1948)

Old-fashioned family values.

[3/10 · 8 December 2001]

Intended as a hymn of praise for firm parents ruling the roost over their restless young adults on the brink of marriage and independence. But prevailing values have changed so much that probably few people nowadays will share the assumptions underlying this movie.

Parents who regard a 24 year old as too young to leave home, who won't allow an adult daughter a house key in case she stays out too late, and who expect the right of veto over their children's choice of marriage partners, might well be seen these days as doing a less than adequate job.

Like all moral crusaders, the generation who made this movie didn't realize that by turning the spotlight on their own narrow-minded value system they ran the risk of holding themselves up to ridicule rather than praise.

Foreign Affaires (1935)

Amusing story, but dated acting.

[5/10 · 24 November 2001]

Revolving door farce with enough mixups, slipups misunderstandings, crafty schemes and chance encounters to provide a rich vein of comedy. But how acting styles have changed over time! The cast plays this one as if trying to communicate with a distant back row of seats in a large hall. To a modern screen audience this type of acting comes across as exaggerated melodrama (right down to the villainous moustache twirling!). All the same, if you can ignore the dated acting method there's some good fun here in the style of a PG Wodehouse novel.

Fighter Attack (1953)

Routine war story

[4/10 · 15 November 2001]

Uninspired formula piece in which a US fighter pilot proves what he's made of after being shot down behind enemy lines. If you suspend judgment, all the ingredients are there for a good 90 minutes of escapism – danger, romance, adventure, fighter planes, guns and incompetent enemy soldiers. And there's some aerial filming of actual fighter planes of the period in action. But you'll have to ignore the low budget production, wooden acting and unconvincing plot developments. This movie also contains the most unflattering romantic compliment I've ever heard addressed to a woman on screen: `You look older than your age'!

Dublin Nightmare (1958)

Enjoyable noir thriller.

[6/10 · 26 October 2001]

An atmospheric setting in Dublin provides the background for this late noir thriller. The real strength of the movie is a well crafted plot which holds the viewer's interest. There's a genuine mystery to be solved, with plenty of red herrings and some surprising twists along the way. Not a masterpiece but it will certainly fill an enjoyable hour or so of your time.

The Long Dark Hall (1951)

All the worst aspects of the 1950s.

[2/10 · 14 October 2001]

This movie reeks of hypocrisy, sexism, authoritarianism, conservatism, prudishness and artificiality. And that's pretty much a summary of the whole dreary decade of the 1950s.

Hey, all you children of the post-feminist age who take your personal independence for granted, this movie will show you what the feminist revolution was all about. The blunt message to the gals of that era was to put your brain in neutral, accept any indignity and always wear a nice hat for your man. Even if it turns out that your man is a selfish pig who has been fooling around with other women for years while leaving you at home in the suburbs to bring up the kids and clean the house. Even if you are in a marriage where there's no communication, no trust and no sharing. Even if your marriage includes that ultimate 1950s horror – single beds in the bedroom! How on earth could people have thought this doll's house existence was a worthwhile way of life?

As well as its warped social values, the script for this movie is just plain lazy in every department. There's no effort to establish credible characters or motives. Everyone is a stereotype. Even murder is committed in a strangely passionless and pointless way. The moralistic ending is a complete sham. After watching this you will most likely feel angry that your time has been wasted – but then spare a thought for a whole generation who wasted their lives believing in this kind of tripe.

Wild Boy (1934)

Shocking cruelty to animals.

[1/10 · 4 October 2001]

The sport of `live hare coursing' is banned in civilized countries. It involves greyhound packs chasing a live rabbit or hare to its brutal death. Sadly Britain in the 1930s apparently still allowed this barbaric practice and this movie celebrates it in gruesome detail. No self-respecting movie outlet should have any dealings with this disgraceful production.

Secret Mission (1942)

A blend of wartime action, drama, comedy and romance.

[5/10 · 22 September 2001]

This otherwise routine propaganda piece, intended to lift spirits during the war, is redeemed by its focus on the personal effects of war. We can sympathize with the tough moral choices faced by the occupied French population, while we still have time for a laugh and a languid kiss before getting on with the serious business of outwitting the Nazis.

The Beasts of Marseilles (1957)

Refreshingly different wartime adventure.

[7/10 · 7 September 2001]

Not a stiff upper lip to be seen. Instead, French bordellos, bread sticks, wine, lust and seething emotions are on the menu as two British escapees from a German POW camp try to hide out in the occupied port city of Marseilles while waiting for a boat back to England.

I say `try' to hide out, because their presence soon becomes an open secret - the Germans seem to be the only ones not in on it. And with all those friendly locals around, that's where the lust and other emotions come in – after all what's a chap to do while sitting around in a lively French city?

As well as the highly original story line, other very striking features of this movie include the superb black & white filming which lovingly captures the teeming bohemian district of Marseilles. Also one can't help being struck by the astonishingly handsome cast of relatively obscure leading actors. The two British escapees in particular could have stepped straight out of a Mr Universe competition. The better known James Robertson Justice plays only a minor but memorable role.

Just for sheer imagination, style and novelty, this movie stands out as a welcome variation on the wartime escape theme. By the way, don't switch off early because the Nazis provide a spectacular surprise ending.

Deadly Nightshade (1953)

Nothing is what it seems.

[5/10 · 27 August 2001]

The world's in turmoil in the early years of nuclear weapons and the cold war. The uncertainty and insecurity is reflected in every aspect of life, from personal relationships to one's very identity. An escaped convict thinks he has found security by taking on another man's identity (whoops, another dead body) but then finds the new identity has a murky past which threatens to engulf him in international espionage. Trust, recognition, sincerity, love and respect are all thrown in doubt. It's a snapshot of 1950's high anxiety, with plenty of unexpected twists.

Watch out for the minor role of the garrulous housekeeper played by Joan Hickson, later to become a wonderful Miss Marple in many Agatha Christie mysteries.

Two Thousand Women (1944)

Stylish, sexy wartime comedy-drama.

[6/10 · 23 August 2001]

All those women are confined in a remarkably luxurious German internment camp without male company. What a waste, as so many of them seem to have film star looks and wardrobes to match. So what better spot for some British airforce chaps to seek refuge? Seriously now folks, those British boys must be helped to escape at once. But it's awfully hot in here don't you think, perhaps I'll just take a bath...

After a slow and rather class-conscious opening, the story develops into a stylish, sometimes funny and often sexy battle of wits against the usual hapless German guards and the occasional informer. Along the way, the camera lingers wistfully on every stockinged thigh and lacy bosom, but somehow everyone manages to keep thinking of England – at least some of the time.

A top cast of female leads.

King of the Damned (1935)

Earnest political allegory, but tends to preach.

[5/10 · 6 August 2001]

With the Great Depression still dragging on in 1935 and the Spanish Civil War already brewing, who could blame the US and other western nations for nervousness about the rise of socialism? In this thinly disguised parable about revolution by the oppressed masses, a brave creative team tackles a subject that was a political hot potato in its time. It's not too hard to see that the scriptwriters' sympathies lie with the downtrodden prisoners, and unfortunately there's a preaching quality to the slow-moving script which tends to carry over into the acting. For this reason it's not one of Conrad Veidt's best performances (you'll know him better as a nasty Nazi in Casablanca). The movie is partly redeemed by some quite high production standards in other areas, especially the staging of the large crowd scenes.