Jim Ackland unter Mordverdacht

The October man is directed by Roy Ward Baker and written by Eric Ambler. It stars John Mills, Joan Greenwood, Edward Chapman, Kay Walsh, Joyce Carey, Catherine Lacey, Adrianne Allen and Felix Aylmer. Music is by William Alwyn and cinematography by Erwin Hillier.

Following a bus crash that killed a friends child that he was treating to a day out, Jim Ackland (Mills) suffers a brain injury. During his recuperation it's revealed to him that he is prone to amnesia, and even though he's suicidal over the child's death, he's released back into society. Setting up lodgings at a hotel and back to work as an industrial chemist, Jim is functioning well. That is until he financially helps one of the young lady residents of the hotel and becomes the chief suspect when she winds up murdered in a park. Jim has no recollection of committing the crime, but he was in the park…

Pulsing with moody atmospherics, this Brit noir – psychological - thriller showcases the best of John Mills and the higher end of the British noir splinter. It's a post war London that's cloaked in shadowy streets, of parks harbouring spectral mists punctured by bulbous lamps, a train station a foreboding but visually stunning presence. Jim Ackland is suicidal and nursing amnesia, yet the hotel where he lives, itself a relic of a London that time forgot, is full of human beings from different ends of the evolutionary scale. It's not a good place for Jim to be, a cuckoos nest of spiteful, suspicious, vengeful, lonely people, Jim in fact, in spite of his problems, appears to be the only sane one there!

There is no great "whodunit" to be solved here, some critics have bizarrely complained that the murderer is too obvious! Bizarre because the makers don't try and hide who it is, the film is firmly interested in the human condition, in how members of society react post a heinous crime, and of course how the afflicted antagonist fights his corner when confronted by hostility and his own mental confusion. Roy Ward Baker, for what was his first direction assignment, is more than up for the job of crafting a noir thriller. He has a good eye for the visual traits that often marry up with human feelings or behaviour, of course having someone of Hillier's class on cinematography duty naturally helps him through his debut production.

Splendid entertainment. 8/10

The October Man (1947)

A tightly constructed, well acted, moody, night drenched murder mystery. Very British, very good. Is it amazing? No, but it beats old t.v. hands down. I mean, it's a layered, nuanced, gradually evolving story with some real feeling to it. But it's also a packaged affair, neatly imagined and in the ends not a bit surprising. The romance, at least, is satisfying--the couple seems a good match.

Eric Ambler, who wrote and produced, was a high visibility popular author at the time, and you have to assume the movie feels as close to the writer's intentions as possible. Director Roy Ward Baker is only on his second film here, and it shows a natural talent for economy and drama. (He would later direct the Richard Widmark, Marilyn Monroe suspense noir, "Don't Bother to Knock" during a stay in Hollywood.) His most famous film might now be "A Night to Remember" because it was the most complete telling of the Titanic story leading up to Cameron's.

In a seemingly British way, the story here is neatly contained. Agatha Christy comes to mind when the main character enters the hotel where most of the action occurs, and we get to know the small number of residents there, each a distinct type. And when the murder (of course) happens, we are led to suspect this person or that. Or at least we are supposed to. The movie makes the perp all too obvious, even before the crime, so you have to depend on how well the story is told instead of being curious who done it.

And it's well told indeed. The supporting cast, including the love interest, is competent. The leading man, the falsely accused victim of an earlier bus crash, is rather excellent, played by veteran serious actor John Mills. And all the foggy night scenes, and train and train station sections, ought to make those of you nostalgic for old Britain very happy.

A wonderful old black and white British film, that has John Mills suffering from a head injury sustained in a bus crash, is the suspect in a murder mystery, when a girl that he has helped out with some money, has been found dead. Good performances from the whole cast and the audience is kept in suspense up to the final scenes as to weather the murderer will escape.

I first heard of this 1947 British film in one of Leslie Halliwell's books. Written by Eric Ambler and directed by Roy Baker, it's kind of a British answer to Hollywod's noir, essentially a reworking of Grahame Greene's Ministry Of Fear. Chemist (and I do mean "chemist", not pharmacist or apothecary) John Mills blames himself for the death a friend's daughter in a bus crash, which also gives Mills a concussion and tendencies towards blackouts and amnesia. Quicker than you can say "Alfred Hitchcock" Mills is accused of murdering a fellow resident of his boarding house, and poor old John can't remember if he did it or not. What's most fascinating to me is the subtext -- Mills is clearly supposed to represent returning war veterans, but the film's makers were too afraid to have war wounds be the source of his blackouts (even though H'wood had already done it in The Blue Dahlia) and instead resorted to the bus crash contrivance. There is effective direction by Baker (who went to H'wood and made the classic 3D "depthie" Inferno, later returning to England to do A Night To Remember) and Ambler's script is good, with a few surprise scattered throughout.

Well filmed and acted. The cinematography is first class and enjoyable.

I found the story unfortunately a little too obvious (you know who did it immediately) and that it will be resolved in some way in the letter the murdered woman sent.

Also you have to suspend disbelief on numerous things...that the police wouldn't search the dead woman's room carefully (and find her love letters) is the most obvious one. There were others (it sure is easy to escape from British cops) but for what movies do you not have to suspend your disbelief a little?

It is too bad they couldn't have sharpened up the story just a bit because all the other values are excellent...acting superb camera work etc...

It rates a 7--it is leagues better than most of the quota British films of the 50s.

RECOMMEND