The Set Up (1963)

The Set Up is a 1963 entry in the British Merton Park Studios Edgar Wallace B-movie crime thriller cycle - a prolific and consistently very fine series of movies.

Arthur Payne (Brian Peck) has just been released from prison. He meets a man on a train who tells him he might have a job for him.

Payne is then approached by another man with a proposal. It will pay well.  He wants his own safe robbed. His story is that he is trying to catch his wife out - she has been selling off her diamonds and replacing them with fakes. There’s no risk involved in the job. Payne won’t actually be doing anything illegal. There’s no way the police can become involved.

Payne is a nice enough guy but he’s as dumb as a rock. He falls for this story although even a give-year-old child would be suspicious. Of course the fact that Payne has been in prison indicates that he’s not the sharpest knife in the drawer. Payne is so naïve that he doesn’t even bother to wear gloves when robbing the safe.

Naturally it all goes horribly wrong. Payne is now on the run, suspected of a murder.

Then he meets a cute blonde. Meeting a cute blonde is generally trouble but this is a nice cute blonde. She wants to help Payne. He has told her the truth about the way he was set up and she actually believes him. He trusts her and although he thinks she has betrayed him she hasn’t.

Inspector Jackson (John Carson) would like to believe Payne is innocent as well. He arrested Payne last time but he thinks Payne is fundamentally decent. And he finds it hard to believe that a petty thief would suddenly become a murderer.

Maybe Payne really was set up. But possibly he wasn’t the only one.

The strong cast is a bonus here. Maurice Denham as Gaunt is good, Anthony Bate is delightfully smooth and untrustworthy as Gaunt’s business associate Ray Underwood. Luanshya Greer is likeable as Sally, the cute blonde. I always enjoy John Carson’s performances whether he’s playing a good guy or a bad guy. Brian Peck has a tough job as Payne since we have to be on the guy’s side even though he’s been such a total fool.

Gerard Glaister directed this film and several others in the series but he had most success as a television producer. It’s hard to fault the job he does here.

The low budgets of these movies didn’t give directors much scope for being visually ambitious. The most important thing was to keep the stories powering along and the very short running times (usually less than an hour) helped here. If the script was good the movie would work. This one was written by Roger Marshall who had an outstandingly distinguished career as a television writer and wrote several of these Edgar Wallace potboilers.

The Set Up is included in Network’s Edgar Wallace Mysteries Volume Four DVD set. It gets the usual nice transfer.

As with all the movies in this series The Set Up was shot in black-and-white and widescreen. The Set Up is very decent entertainment and it’s recommended.

I’ve seen and reviewed a lots of these Edgar Wallace films, including several written by Roger Marshall - Ricochet (1963) and Who was Maddox? (1964). Some of the others I’ve reviewed are Number Six (1962), Candidate for Murder (1962) and Time to Remember (1962).

Locker Sixty Nine (1962)

Locker Sixty Nine is a 1962 entry in the British Merton Park Edgar Wallace thriller cycle - a prolific and consistently excellent series of crime B-movies.

This one was directed by Norman Harrison and written by Richard Harris.

We are introduced to businessman Bennett Sanders and we realise he’s the sort of businessman who makes enemies. He has hired ex-cop Craig (Walter Brown) as a bodyguard.

Murder follows, or at least possible murder. With no body to be found Detective Inspector Roon (John Glyn-Jones) is understandably reluctant to commit himself, but there are some suggestive bloodstains.

Miguel Terila (John Carson) and his wife Eva (Clarissa Stolz) have some sort of grudge against Sanders.

Someone might want to kill Sanders for business or financial reasons but with two beautiful glamorous women mixed up in the case, both apparently Sanders’ mistresses, romantic jealousy is just as likely. The second woman is night-club chanteuse Julie Denver (Penelope Horner).

The vital clue is a secret file kept in a safety deposit box. Everyone wants that file. They are prepared to use drastic measures to get hold of it.

Reporter Simon York (Eddie Byrne) is convinced there’s a much bigger story here and he intends to uncover it.

The plot is solid enough overall but the main problem is that the major plot twist is too obvious and there’s not enough sense of urgency or real danger. These criminals are not quite desperate enough.

These Edgar Wallace thrillers were consistently good because they had fine writers and very competent directors and while they did not have huge stars the cast members were always very capable. I can’t single out any particular cast member since they’re all absolutely fine. It is always fun to see Alfred Burke in anything (he plays Simon York’s editor).

These were low-budget movies so there was no scope for spectacular visual set-pieces or lavish sets. They relied on good scripts and on the fact that they were made by professionals who knew what they were doing and who understood the genre.

The very short running times (usually just under an hour) helped as well. There was no time to waste on unnecessary subplots.

As was the case with most of the directors of these movies Norman Harrison worked mostly in television. Screenwriter Richard Harris had a distinguished career as a TV writer.

Locker Sixty Nine is included in Network’s Edgar Wallace Mysteries Volume Four DVD set. It gets, as usual, a very nice transfer.

Like all the movies in this series Locker Sixty Nine was shot widescreen in black-and-white. Locker Sixty Nine is decent entertainment.

I’ve seen and reviewed a stack of these Edgar Wallace films, including Marriage of Convenience (1960), Man at the Carlton Tower (1961) and The Sinister Man (1961). In fact I’ve reviewed a couple of dozen of these films!

Campbell’s Kingdom (1957)

Campbell’s Kingdom is a slightly unconventional 1957 British thriller. It was based on the 1952 Hammond Innes novel of the same name. Innes is now largely forgotten but he was one of the great thriller writers.

This is a frontier adventure tale of sorts. Bruce Campbell (Dirk Bogarde) arrives from England to take up his inheritance in the wilds of Canada. His inheritance is known as Campbell’s Kingdom. It’s a completely worthless tract of land, but Campbell doesn’t think it’s worthless. His now deceased grandfather thought there was oil there. Nobody ever believed him. His grandfather was accused of fraud and sent to prison. But Bruce Campbell believes his grandfather was right.

He has his own reasons for believing and he has his own reasons for being determined to find that oil. Those reasons do not include greed. Even if there is oil Bruce Campbell will never see any money from it.

His immediate problem is Owen Morgan (Stanley Baker). Morgan, a very shady construction contractor, has a contract to build a dam. The dam will flood Campbell’s Kingdom. After that, even if there is oil there, no-one will ever be able to be able to find it or access it.

The most recent geological survey by the seismological surveyor, Bladen (Michael Craig), confirmed what everybody knew. There is no oil. But a conversation with Bladen arouses Campbell’s suspicions. And that conversation arouses Bladen’s suspicions as well. He is an honest man. Perhaps he has been deceived in some way as well.

Test drilling would provide the answer but in a few short weeks the whole valley will be underwater. Even worse, Morgan controls all access to Campell’s kingdom. There is no way to do any test drilling. But Campbell has a plan.

And he has the man to help him carry it out. James MacDonald (James Robertson Justice) is a wildcat oil driller and he’s a man prepared to take a huge gamble.

This is a thriller with almost no violence at all. There’s crookedness and skullduggery but not violence. There is however plenty of action and excitement. And explosions! And there are two race-against-time elements. Ralph Thomas was the director. He made fine movies in lots of different genres, in fact in just about every genre you can name including some good thrillers. It’s no surprise that he is able to get plenty of thrills out of this story.

Dirk Bogarde might seem an odd casting choice but it works. This is a clash between two men representing very different types of masculinity. Stanley Baker as Morgan is aggressive, overbearing, hard-driving and overtly macho. Bruce Campbell is quiet, passive and self-effacing but he does not lack courage and under the surface is a steely determination and an iron will. This is a guy who never backs down and never gives up. Which is why the casting of Bogarde works - he is the perfect counterpoint to Baker.

Michael Craig plays Bladen as a nice guy but he’s also tougher than he looks. James Robertson Justice is of course a delight.

There is, naturally, a girl. Jean Lucas (Barbara Murray) played a part in Bruce Campbell’s past, a part of which Campbell knew nothing. For a number of reasons she knows she cannot play a part in his future. This is in spite of the fact that she fallen instantly head over heels in love with him, and he’s obviously pretty fond of her. Barbara Murray plays her as feisty and likeable.

Look at for Sid James in a small role.

Hammond Innes always made superb use of either nautical settings or settings in the frozen wastes of the North. He had a real feel for such settings, and that’s reflected in this movie. There’s some lovely location shooting, all done in Italy (with the Dolomites standing in for Canada). The special effects are extremely well done.

It’s refreshing and unusual to see a movie in which the oil men are the good guys.

Campbell’s Kingdom is unusual enough to be interesting, it looks great, it has excitement and some romance and some fine acting. Highly recommended.

The Blu-Ray from the now defunct Network is still available and it looks lovely.

The Good Die Young (1954)

The Good Die Young is a 1954 British crime thriller directed by Lewis Gilbert. The first thing you’re going to notice about this movie is the cast - Laurence Harvey, Margaret Leighton, Stanley Baker, Gloria Grahame, Richard Basehart and Joan Collins. That’s a staggering amount of star power, both British and American. And the supporting cast includes Robert Morley (always fun) and Lee Patterson (whose performances I always enjoy).

The movie starts with four men about to pull off an armed robbery. This is a heist movie. Then we get extended flashbacks that tell us how the four came to be attempting something so obviously destined for failure.

They are all trapped in a spiral of despair and desperation. And they’re all primed to make seriously bad decisions.

Joe (Richard Basehart) is an American who has come to London to take his English wife Mary (Joan Collins) back to the States with him. He hadn’t reckoned on the determination of Mary’s manipulative mother to keep Mary with her and to wreck her marriage. Now Joe has run out of money so even if he can persuade Mary to make the break there’s no money to get back to New York.

Eddie (John Ireland) is an American serviceman. He’s married to movie star Denise (Gloria Grahame). She’s more of an aspiring movie star, convinced that major stardom is just around the corner. And she’s having an affair with handsome young actor Tod Maslin (Lee Patterson). The ensuing dramas cause Eddie to desert. Now he’s in serious trouble.

Mike (Stanley Baker) is a boxer. After twelve years of getting the daylights beaten out of him in the ring he has saved enough to get out of the fight game. Then he’s hit by disaster. A serious hand injury leaves him unable to fight and unable to get a regular job. And then comes a second disaster when his worthless brother-in-law costs him all the money he’s saved. Now he just can’t see a way out.

These three men can all be seen as basically decent guys who don’t really understand how their lives got so messed up.

Rave (Laurence Harvey) is a different kettle of fish. He’s the idle useless son of Sir Francis Ravenscourt (Robert Morley) who is no longer willing to pay his son’s debts. Rave is charming, manipulative, lazy, scheming and a thoroughly worthless human being. The one thing Rave fears is the prospect of work. Now he’s come up with a surefire plan to get rich, but he’ll need help.

It’s a robbery but it’s fool-proof. Eddie, Mike and Joe are not happy about the guns but Rave assures them that there won’t be any need to use them.

In the case of all four men there’s a woman involved but only one of the women (Denise) could be described as a femme fatale. The women do however, in differing ways, provide the crucial motivations that lead the four men to be sitting in a car, holding guns, about to commit armed robbery.

Eddie, Mike and Joe are typical noir protagonists - basically decent guys who have succumbed to temptation born of desperation. Rave is a much more sinister figure. His problem is that he thinks he’s a whole lot smarter than he really is. He thinks he’s a criminal mastermind but he’s an arrogant bungling amateur.

All of the performances are very very good. Laurence Harvey is perhaps the standout - he really does ooze reptilian charm. Among the women Joan Collins is adorable and looks gorgeous. Gloria Grahame has a part that was tailor-made for her and she makes the most of it. She is such a bad girl.

If there’s a weakness to this movie it’s that the build-up takes a bit too long. I can understand why it was done that way - we need to get to know these people and know what makes them tick and we need to care about their fates. But a bit of tightening up would not have hurt.

When we get to the heist it’s handled extremely well indeed and it’s beautifully shot with some very noir cinematography by Jack Asher and some fine use of very noirish locations. The movie was shot widescreen in black-and-white.

The premise has plenty of film noir potential and that potential is realised. This is full-blown film noir and it packs a punch.

The BFI Blu-Ray provides an exquisite transfer.

The Good Die Young is a top-notch British film noir and it’s highly recommended.

Non-Stop New York (1937)

Non-Stop New York is a 1937 British murder mystery thriller with much of the action taking place on a new highly advanced transatlantic flying boat.

Jennie Carr (Anna Lee) is an English chorus girl in New York. She’s down on her luck. In fact she’s starving. Then she meets a friendly lawyer. He invites her back to his apartment with the promise of a meal. Surprisingly his intentions seem to be honourable.

We soon find out that he’s a lawyer with some shady associations.

Jennie also encounters a tramp, stealing food from the lawyer’s apartment.

A bunch of rather unpleasant men burst in, it leads to murder and the intruders order Jennie to make herself scarce. The men were of course gangsters.

The chief gangster Hugo Brant later decides it would be unwise to allow a witness to live. Jennie doesn’t know it but she’s marked down to be rubbed out.

Meanwhile the tramp, who is wholly innocent, is arrested and convicted of the murder. He is to be executed.

Lots of complications follow in quick succession. Jennie ends up in prison back in England. She isn’t in for long, but long enough for her not to realise that she is now the missing star witness in a murder trial. And then she finds Scotland Yard Inspector Jim Grant (John Loder) won’t believe her.

All these complications serve to being a motley group of people together on a new luxury airliner capable of flying non-stop to New York. It’s a race against time for all of them. There’s Jennie, there are gangsters who are after her, there’s a blackmailer and a Scotland Yard cop.

It’s all fairly lighthearted and the plot is serviceable rather than brilliant but there are jus enough complications to it to ensure that there is always something happening. The pacing doesn’t falter at any stage in the movie’s modest 69-minute running time.

Mercifully the comic relief is kept to a minimum. It’s mostly provided by a young boy who is a musical prodigy but he is actually quite amusing.

Anna Lee had a very long career but never quite achieved the stardom she deserved. In this movie she’s funny, sweet, charming, sexy and adorable. She has that ability to light up the screen.

Jon Loder is likeable as the Scotland Yard cop. Francis L. Sullivan is deliciously sinister as gangster Hugo Brant and Frank Cellier is fun as sleazy blackmailer Sam Pryor.

The mighty six-engined flying boat looks reasonably impressive and the cool thing about it is that it features a promenade deck - you can step outside for some air mid-flight. It makes a fine setting for a crime thriller and it adds what would have been at the time an ultra-modern feel.

There’s an effective and exciting mid-air action climax.

This is an unassuming but entertaining lightweight thriller with some humour and some romance. It really is good fun. The delightful Anna Lee and the aerial setting are bonuses. Highly recommended.

You have to love the poster - a nude Anna Lee rendered as an aeroplane.

This movie can be found if you’re prepared to do a bit of looking.

F.P.1 Doesn't Answer (1933)

F.P.1 Doesn't Answer is a 1933 Anglo-French-German co-production. Intriguingly three different versions were shot with three different casts, one version in English, one in German and one in French. The English and German versions survive. This review deals with the English-language version.

It’s also interesting in having been co-written by Curt Siodmak, brother of the great director Robert Siodmak. Curt Siodmak went on to great success as a science fiction novelist and screenwriter (he wrote The Wolf Man).

The F.P.1 is the brainchild of Captain Droste (Leslie Fenton). It’s not an aircraft carrier but a giant floating aerodrome which will be moored in mid-Atlantic. At that time commercial airliners were small and did not have the range to make oceanic crossings non-stop so while the idea sounds odd it did make some kind of sense in 1933.

The movie begins with a burglary that is not what it seems. The burglar is Droste’s buddy Major Ellissen (Conrad Veidt), a famed aviator.

As a result of the burglary that isn’t Ellison meets Claire Lennartz (Jill Esmond). She owns the shipyard that will eventually construct the F.P.1.

There are mysterious plots afoot to sabotage the F.P.1.

A romantic triangle develops between Claire, Droste and Ellison. Both men are hopelessly in love with her. She’s attracted to both men but it starts to look like she will marry Droste.

Two years later the F.P.1 is ready to being operations and then things start to go wrong. It seems that the sabotage attempts have been resumed.

Eventually Claire has to set out on a rescue mission to save the man she loves, Droste. She persuades Ellison to fly the rescue plane. He agrees, because he’s too decent a guy to refuse.

This sets up some decent suspense as attempts are made to save F.P.1 and its crew and the romantic triangle comes to a head.

Leslie Fenton and Jill Esmond were fairly big names in Britain at the time and they’re both good. They give their characters at least a small amount of depth. Droste is a visionary, a driven man, perhaps too much so. Claire is caught between two men and she really doesn’t want to hurt either one. She’s trying not to succumb to the temptation to play them off against each other.

Conrad Veidt is the acting heavyweight here and he’s extremely good. Ellison is a complex man. At first he’s arrogant and ambitious and then, on a long-distance flight, he crashes. He seems to lose all his confidence. His life starts to fall apart. He’s a tortured man but he’s fundamentally decent.

This is borderline science fiction, made at a time when science fiction films were few and far between. I say borderline because the technology is all basically early 1930s. Even F.P.1 itself is probably not something wildly beyond the technology of the time, assuming someone was willing to spend vast amounts of money. It might be more accurate to describe this as a techno-thriller.

While the 1930s aircraft and the crazy floating platform are fun the real focus is on the the three key characters and the interactions between them. Most of all it’s the story of a man who has lost himself. Maybe he will have one last chance to find himself again.

F.P.1 Doesn't Answer is an oddity but I like interesting oddities and I liked this movie. Recommended.

F.P.1 Doesn't Answer is now available on Blu-Ray from Kino Classics. I don’t know if the Blu-Ray includes the German-language version as well.

The Pleasure Girls (1965)

The Pleasure Girls is a 1965 Gerry O’Hara movie and if you’re familiar with his work you’ll be guessing that these girls are not going to be getting much pleasure. In the world of Gerry O’Hara’s movies looking for pleasure (or fun or emotional fulfilment) just leads to misery so the smart thing to do is to throw yourself under a bus at the first opportunity.

This movie is an interesting antidote to the popular image of Swinging London. Swinging London was great for a tiny minority of people in the worlds of entertainment, art and fashion but for most people it was the same old grind. A desperate struggle against poverty and despair. If you tried to get ahead you’d just get knocked down and as for sex, forget it. That leads inevitably to ruin.

This was an era in which politicians and the media were constantly fretting over the evils of the “permissive society” which was about to engulf Britain in a tidal wave of immorality.

With this movie you have to bear in mind that it reflected the sexual mores of most of society at that time. Unmarried sex was something that pop stars and people on the Continent did. Nice English people didn’t do such things. The very word pleasure was a sign of behaviour of which respectable people disapproved. The Sexual Revolution had not yet filtered down to the masses.

The Pleasure Girls is centred on a group of girls living in a block of flats in London. Sally (Francesca Annis) has just arrived in London from the country, hoping to make a career for herself as a model while guarding her virginity like the Crown Jewels. She meets Keith (Ian McShane), a cheerfully irresponsible sort but basically pretty nice.

Keith would like to sleep with her but she wants him to wait, just for a little while. Just until her career is established and they have enough money to get married. It will probably only be five or six years. Surely if he loves her he won’t mind waiting such a short time.

Sally is a good girl.

Marion (Rosemary Nicols) lives with Prinny (Mark Eden) in the flat below. They’re not married so we figure Marion has some suffering in store for her. Once we get to know Prinny we’re even more sure of that - he’s a loser, a hopeless gambler and a louse. But he’s charming and Marion loves him. We have some doubts as to whether Marion is a good girl.

We have doubts about Dee (Suzanna Leigh) as well. She’s having an affair with a married man, Nikko (Klaus Kinski). She seems nice, but we suspect she might be in line for some suffering as well.

One problem with this movie is that there are too many characters which makes things a bit unfocused. Some of these characters seem like they might be important but they end up playing no significant part in the story. A bit more emphasis on the central characters would have allowed for their personalities to be a bit more fleshed out. The narrative drive is also a little weak.

Nikko is actually the most interesting character. He’s a successful hard-driving businessman whose ethical standards are loose to say the least. We assume he’s being set up as the villain of the piece but as we get to know him we discover that his business ruthlessness doesn’t reflect his true character. He doesn’t mistreat Dee. In fact he’s affectionate and gentle with her and he has a generous side. He’s really quite a nice guy.

Francesca Annis gives a solid performance but it’s a somewhat thankless part. Sally really is rather prim. Anneke Wills is charming (as she would be later in her starring role in the excellent offbeat TV series The Strange Report) in a part that doesn’t really go anywhere.

Rosemary Nicols is the standout performer among the women. In the same year this movie was released she landed the lead role in the excellent and very underrated sci-fi TV series Undermind although she is of course best known as one of the three leads in the wonderful 1969-70 Department S TV series. She manages to give Marion some real substance. At times we despair at the choices she makes but we understand those choices.

Klaus Kinski gives a very restrained performance. Yes, you read that right. Kinski giving a restrained performance. But it’s quite effective. He is able to persuade us that there’s more to Nikko than outward appearances would suggest.

Ian McShane is fine as Keith although there’s not a great deal of depth to the character.

This one is mostly worth watching for the fine performances by Rosemary Nicols and Klaus Kinski. It’s definitely an intriguing time capsule of Swinging London without the glamour. It’s worth a look.

Of the three Gerry O’Hara movies I’ve seen this is the least depressing. It’s not exactly upbeat but the sense of doom isn’t quite so relentless. Worth a look if only as a time capsule.

The BFI have released this movie in one of their Blu-Ray/DVD combo packs. The transfer is very satisfactory.

Other British movies of this era that are interesting for their bleak view of sex are All the Right Noises (1970), That Kind of Girl (1963),
Baby Love (1969), Her Private Hell (1968) and Permissive (1970).

Pandora and the Flying Dutchman (1951)

Pandora and the Flying Dutchman stars James Mason and Ava Gardner. It is one of those movies that challenges easy genre classification. It’s certainly a romance movie, albeit an unconventional one. Is it also a fantasy movie? Whatever it is it’s strange and disturbing and very unusual.

This is a movie in which the ending is revealed right at the beginning but given people’s sensitivities about spoilers I will still try to avoid them.

This British movie takes place in Spain during the early 1930s, in the Mediterranean seaport of Esperanza. The story is mostly seen through the eyes of middle-aged literary-art historian/archaeologist Geoffrey Fielding (Harold Warrender). Pandora (Ava Gardner) is a singer, but mostly she breaks men’s hearts. Men have died for love of her. Literally died. It would be tempting to see her as a wicked temptress and her odd reactions to things lead many people to see her as a heartless bitch. Pandora is however more complicated than that.

She is a very complicated woman indeed. She has never loved a man but she is in love with love. She is also perhaps in love with death.

Stephen Cameron (Nigel Patrick) is in love with her. He is a racing car driver. He has built a car with which he hopes to break the world land speed record. His car means more to him than anything else in the world, except for Pandora.

Then a yacht arrives in the harbour. Pandora does what any normal woman would do. She takes off all her clothes and swims out to the yacht. She hasn’t been invited but is it likely that anyone will be annoyed to have a nude Ava Gardner suddenly emerge from the sea?

The strange thing is that there is no crew. Just the yacht’s skipper, a Dutchman named Hendrick van der Zee (James Mason). Hendrick is just completing a portrait of Pandora although he has never set eyes on her before. He almost seemed to be expecting her arrival, which is of course impossible.

Coincidentally Geoffrey has just come across a manuscript written in 17th century Dutch purporting to be the memoirs of the fabled Flying Dutchman. He can read Dutch but he is having trouble with this archaic form of the language. Oddly enough Hendrick can read it with ease. In fact it’s as if he doesn’t need to read it. He already knows what it contains. Which is impossible.

Geoffrey knows that Hendrick cannot possibly be the Flying Dutchman. That’s just a legend. But he is puzzled and disturbed.

Pandora accepts Stephen’s proposal of marriage. Stephen does have a rival, matador Juan Montalvo (Mario Cabré).

With Hendrick’s arrival there may be another rival on the scene. The attraction between Hendrick and Pandora is obvious, but it’s a mysterious sort of attraction. It’s as if they both have a destiny they cannot escape.

James Mason is excellent as the troubled rather tragic Hendrick, and playing troubled tragic romantic leads was certainly something Mason did well.

This picture however belongs to Ava Gardner. Hers is the standout performance and Pandora is the most interesting character. She perfectly captures the disturbing quality of Pandora. She is clearly attracted to men who flirt with death, such as racing car drivers and matadors. Whenever one of these men is in danger of sudden violent death Pandora is visibly excited. It’s obviously sexual excitement, but perhaps more than that.

There’s a wonderful scene early on in which she asks Stephen to make a sacrifice for her, a very big sacrifice. She doesn’t love the man. It is simply a test of the strength of his love. Or perhaps it is a test of the power of love. This is in fact the theme of the whole movie - how much will a person give up for love? Stephen makes the sacrifice. Pandora’s reaction is orgasmic. The scene is charged with dangerous unhealthy obsessive eroticism. Gardner handles it superbly. She makes her excitement obvious without being crass.

Do not get the idea that Pandora is evil or a femme fatale. It’s not that simple. She is the woman she is. She is perhaps driven by fate. She is driven by the need for love, and it has to be overwhelming love. She never loses our sympathy. We are unsettled by her, but fascinated.

Jack Cardiff did the cinematography which is, as you would expect, magnificent. He really brings out the feline quality in Ava Gardner.

The big question of course is whether there is really anything supernatural going on. Is Hendrick really the Flying Dutchman? That question is answered but obviously I’m not going to reveal the answer.

This is an insanely romantic love story but it’s a movie about death and fate as well as love.

This is a strange but brilliant movie. Very highly recommended.

The Screenbound Blu-Ray is barebones but looks pretty good.

To Have and to Hold (1963)

To Have and to Hold is a 1963 entry in the Merton Park cycle of British Edgar Wallace B-movies. This one was scripted by Jimmy Sangster and directed by Herbert Wise.

Sergeant Fraser (Ray Barrett) is an ordinary cop, a detective. He’s given a very easy job to do - to convince a woman that her ex is not really intending to murder her. But Claudia (Katharine Blake) sounds so convincing and she’s clearly genuinely frightened. Fraser allows her to persuade him to stay for dinner. They agree to meet for lunch the next day.

Fraser hasn’t done anything seriously wrong but taking the risk of becoming personally involved in a case like this is perhaps a little unwise.

Fraser had no intention of getting personally involved at all but sometimes a man meets a woman and he just gets drawn into things. He’s not even sure why Claudia fascinates him. She is charming but perhaps it’s something else. Perhaps its’s just a natural masculine reaction - a frightened woman who may be in danger and he starts to feel protective.

The involvement proves to have been very unwise. This was not such a trivial routine matter after all. And Fraser is in the middle of it and his life is getting just a bit out of control.

Then the plot twists start to kick in. Fraser is really in a muddle now. He thinks he knows what is going on but he is personally involved and he could be totally wrong.

His boss, Detective Inspector Roberts (William Hartnell), isn’t overly pleased with him. Roberts believes Fraser is a good cop and he doesn’t want to see the younger man doing anything to wreck his career.

Fraser also has Lucy (Patricia Bredin) to consider. Lucy is his girlfriend, or was his girlfriend and maybe still is.

Jimmy Sangster was always a reliable writer and he’s come up with a very solid screenplay here. Herbert Wise was already an experienced television director and while the low budgets on these Edgar Wallace movies didn’t allow much scope for doing anything fancy he shows himself to be perfectly competent.

Australian actor Ray Barrett was always worth watching and he gives an effective low-key performance here, doing just enough to let us know that Fraser is confused and upset and that his judgment might not be as sound as usual.

Katharine Blake is fine as the woman.

William Hartnell is as always a delight. His inspector is not quite the usual crusty bad-tempered old cop with a heart of gold. Right from the start his attitude towards Fraser is more that of an indulgent uncle. Barrett and Hartnell are terrific in their scenes together.

The one weakness is that the script glosses over a couple of points and that ends up stretching credibility just a little. I found myself mystified that these things were left hanging.

On the whole though it’s enjoyable and nicely twisted.

As usual it’s widescreen black-and-white, a format of which I’m quite fond.

This is included in Network’s Edgar Wallace Collection Volume 5 DVD boxed set. And as usual the transfer is excellent.

Act of Murder (1964)

Act of Murder is a late (1964) entry in the British Merton Park Studios Edgar Wallace B-movie cycle.

The film plunges us straight into a romantic triangle. Actress Anne Longman (Justine Lord) quit the theatre to marry Ralph Longman (Anthony Bate). This did not please Tim Ford (John Carson). But given that Ralph is charming, civilised and rich and Tim is a whiny loser actor she probably made the sensible choice.

Anne and Ralph live in a farmhouse in the country. They are planning a holiday. They are going to swap houses with a very nice middle-aged couple in London. They’re looking forward to a couple of weeks in a luxury London flat.

The plot twists start early in this movie and they keep coming, and they’re clever and unexpected. Which means I’m not going to tell you anything at all about the plot, other than the fact that there are lots of things that are not what they seem.

Lewis Davidson’s screenplay really is impressive.

At first the plot twists are just odd and puzzling. Then they become creepy and disturbing.

We know that someone has some kind of devious plan but we have no idea which of the main characters that someone might be.

There’s a mystery here but we’re also in psychological thriller territory.

We can think of an obvious solution to part of the mystery but that leaves some nagging questions unanswered.

The paranoia level slowly builds.

Like most of the directors involved in this cycle of films Alan Bridges worked mostly in television but he did a few feature films including the rather good slightly offbeat 1966 science fiction movie Invasion. He does a pretty nice job here. Act of Murder has just a bit more style and polish than you expect in a low-budget movie, with interesting camera angles and a few welcome visual flourishes.

Anthony Bate and John Carson were always reliable actors and they’re both very good here, as is Justine Lord. All three leads manage to be ambiguous, which is exactly as it should be. None of them play their roles as obvious villains, but they don’t play them as paragons of virtue either. All the characters, including the minor characters, are to some degree morally compromised.

I don’t think any of these Edgar Wallace B-movies could possibly be described as film noir but this one does perhaps have just the faintest noir tinge.

There’s also an almost-nude scene which was about as daring as you could be in Britain in 1964. There’s definitely plenty of sexual tension.

Act of Murder is a very well-crafted above-average crime melodrama B-movie with a pleasingly hard-edged nasty streak to it. Highly recommended.

Act of Murder is included in Network’s Edgar Wallace Mysteries volume 6 DVD boxed set. These wonderful boxed sets are unfortunately becoming a bit hard to find now but if you come across them grab them. The 16:9 enhanced transfer (these movies were all shot in black-and-white and widescreen) is very nice.