Verstrickung

A film well worth watching similar in some ways to Odd Man Out about a man on the run and the working class life of a British city but without Carol Reed's cinematic flair. The acting was impressive, especially by Sir Ralph ,Diana Wynyard and Henry Oscar. And by the way the film was made for 1939 audiences not those in 2020.

Debate and confusion will always exist about when film noir starts and finishes, or if it should only appertain to one country. Importantly it will always be in the eye of the beholder, more so since many of the film makers back in the day didn't know they were making films that would soon become a film making style phenomenon.

On the Night of the Fire (AKA: The Fugitive) has everything a film noir lover could want. Directed by Brian Desmond Hurst and adapted from F.L. Green's novel of the same name, film stars Ralph Richardson, Diana Wynyard, Romney Brent, Mary Clare and Henry Oscar. Plot has Richardson as Will Kobling, a Tyneside barber in the North East of England, who after spying an open window at the local mill, lets temptation get the better of him and climbs in to steal the money that will hopefully end his family's financial woes. On such impulsive decisions does life alter...

From the off the pic is exuding a period of working class Britain from days of yore! It's all brickwork and cobbled streets, of musky docks, gin houses, beat street coppers and sweat stained barber shops where graft and honest toil is the order of the day. Magnificently hovering over proceedings is a swirling score by Miklós Rózsa (Double Indemnity/Criss Cross) and Germanic cinematography by Günther Krampf (Pandora's Box/The Ghoul), with these in full effect and director Hurst firmly dealing in a mood of pessimism, this really becomes a picture not complying with any sort of code ethics.

The characterisations are superbly dubious, story is awash with folk who are quick to turn on a sixpence to meet their ends. There's hysterical alcoholics, shifty loners, a business man who is not beyond expecting sexual favours to pay off a debt. Added into the pot is murder, blackmail and the corruption of someone we could quite easily sympathise with, all this and the fire that smoothers the town in smog, water and floating burnt cinders. The backdrop is set in noirish stone, Richardson is superb, and then the devilish hand of noir fate steps in to not cheat lovers of the film making medium.

A bit stagy at times and the likes of Mary Clare are too hysterical with their acting - where the director should have reined it in - but small complaints for anyone interested in British Proto-Noir before it even had a name. 8/10

If the only movie he had directed had been 1951's 'A Christmas Carol', Brian Desmond Hurst would have been a great director. Imagine my happiness to watch this movie and discover another great movie from the man.

Ralph Richardson is a barber in a poor street in an unnamed port city; wife Diana Wynard has just given birth to a daughter and money is tight. One evening, Richardson is walking through the street. He passes by a bank and spots a pile of cash. He hops through the window, grabs it, hops back out and goes home -- to a life that involves blackmail, murder, riot and suicide.

It's about two whiskers from straight film noir. Small man seeking a place in a decent society? Check. German Expressionist cinematographer? Check (it's Gunther Krampf, whose work on NOSFERATU was uncredited). Echoes of French Poetic Realism and doom? Check. It misses on a couple of points, like the presence of actual criminal masterminds, but it delivers on almost everything else.

Ralph Richardson is superb -- as he is in every role I've seen him in. For those who like to play spot-the-star, Glynis Johns has a role with two lines in her second year in the movies; she does has a credit at the bottom of the cast list.

I happened to catch this one on late night TV and was unable to switch it off and go to bed. The central character reminded me of Raskolnikov from Dostoevsky's 'Crime and Punishment' - how after committing the crime, his own guilt was more effective in punishing him than the efforts of the law.

While the acting tended to be very theatrical as was typical for the period, the camera work, sets and general appearance were above average and the plotting was tight and tension well maintained thoughout the film.

I gave it an 8.

This film is brilliantly directed by the largely forgotten Irish director, Brian Desmond Hurst, and brilliantly performed by its entire cast. But it is largely a 'downer', with its plot of the unremitting grinding of the wheels of Fate. It was filmed in 1939 and released in the spring of 1940. With entry into war, the British public no longer wanted tragedies but 'feel-good films', and they must have tried to forget this film, which was too much like reality to be comfortable. This film is really more like the post-War 'noir' films of America, where doom awaits. It must have been the last of the gritty 1930s British film dramas before the ultimate grit of the Blitz hit in 1940. The film is fascinating in many respects. It shows in intimate detail the life of a working-class urban community in Britain, in those last pre-War moments before most such communities were wiped out forever by German bombs. There are many wonderful location shots of the docks and streets of such areas, later reduced to rubble. For much of the film, I struggled to figure out which part of old London near the docks this could be, and thought I recognised a street near the wharves of old Lambeth (near the reconstructed Globe Theatre) which was only finally demolished about 20 years ago. But towards the end of the film, we are shown a shot of the unmistakable railway bridge hurting northwards across the river into Newcastle-upon-Tyne, and I realized this film must have been meant to take place at Newcastle. But no one in the film has 'Geordie' accents (the unmistakable accent of Newcastle folk). They all speak like Londoners except for Sara Allgood, who does her best to suppress her Irish lilt (she was a famous actress from the old Abbey Theatre in Dublin whom Hurst had directed in his earlier films 'Irish Hearts' of 1934 and 'Riders to the Sea' of 1935.) The young Glynis Johns, aged 17 and already in her fifth film, appears as a fey maid in this film. But the central performances are those of Ralph Richardson and Diana Wynyard, as a couple faced with a terrible dilemma. Wynyard is often of the verge of screaming hysteria in this desperate tale, but her stiff upper lip triumphs. Richardson was perfect for these parts as an introspective and worried husband, and was what you might call 'a steady presence on screen'. His great ability was to stand with the camera on his face and suddenly, as we watch, achieve 'realization' of something, with a nervous narrowing and slight twitching of his eyes. Henry Oscar is marvellously creepy as a miser who sits counting his money alone in his shop at hight, while listening to records of Bach's Brandenburg Concertos. (The director makes good use of this, and a special shot featuring the gramophone, which is very effective, was later much copied by other directors.) This is an almost unbearably intense tragedy, thoroughly convincing, but it won't cheer you up, so be strong.