There Is Another Sun

This engrossing 50s melodrama from British film icon Lewis Gilbert is colourfully set against the playfully boisterous backdrop of an especially raucous, rough n' tumble fun fair, populated with an engaging host of entertaining protagonists. Effectively playing out like a pulpy crime-noir, Gilbert's gutsy drama 'There is another Son' is happily replete with a lively text by writer Guy Morgan and the crisp B/W photography by Wilkie Cooper and Dudley Lovell is wonderfully cinematic, with resplendent set design by George Provis. Fundamentally a doomed ménage à trois with strikingly tall, darkly brooding 'Wall-of-Death' motorcyclist 'Eddie Racer'(Maxwell Reed) affable, warm-hearted, iron-fisted, up-and-coming boxer Mag Maguire (Laurence Harvey), and the lissome, luminous blonde dancer Lillian (Susan Shaw) glistens enticingly as the sublime object of their affections.

With plentiful pulse-pounding incident, amusing banter, break-neck, daredevil motorcycling, bravura fisticuffs, and swelteringly amorous clinches there's nary a dull moment! The self-absorbed machinations of Racer's increasingly criminal attempts to successfully finance his return to his former glory as top speedway racer inexorably draw sweet-natured Lillian and her gullible, deliciously handsome beau Mag Maguire into morally murky waters! Briskly directed by Lewis Gilbert, immaculately performed by a brilliant cast, with a rousingly lush score by Wilfred Burns, the heady, helter-skelter carny atmosphere of 'There is another Sun' is excitingly realized, the characters are sympathetic, and the frantic climax is suitably thrilling. While not oft remembered, this dynamic drama has one of Laurence Harvey's most effortlessly likeable performances, and his bruising bout with sturdy, real-life pugilist Nosher Powell has lost little of its impact!

Wall of Death, or There is Another Sun is a 1951 film directed by Lewis Gilbert and starring Maxwell Reed, Laurence Harvey, and Susan Shaw.

Reed plays Racer, probably a fake name, who is actually a motorcycle racer; Harvey is his boxer friend Maguire. Both are involved with the local carnival, which features them, and both are nterested in the same woman, a dancer, Lilian (Susan Shaw).

Racer is unscrupulous and involves Maguire in his chicanery. Though Maguire is warned not to get mixed up with him, he is obsessively loyal and wants to be a good friend. However, Racer pulls Maguire into deeper and deeper crime.

The star of the film is the wonderful carnival atmosphere, on the seedy side, with its carousel and hilarious fortune teller played by Hermoine Baddeley.

There is some great footage of cycling around a tall, round wall, as well as a prize fight. Otherwise it's a dull and talky film, and one thinks Maguire, rather than being a loyal friend, is an idiot. Harvey is very young here.

Susan Shaw, the object of the affections of both men, is lovely.

Maxwell Reed was Joan Collins' first husband, and I gather about as nice as he appears in this.

All three of the young leads in this movie died young within five years of each other during the 1970s. A bleak trawl of the lower depths recalling 'Nightmare Alley', it teams two of postwar British cinema's most saturnine bad boys and biggest quiffs, of whom only Maxwell Reed is deemed incapable of redemption (although Laurence Harvey's hero-worshipping of him does seem to go beyond mere admiration).

Wilkie Cooper's superb photography goes some way towards making the basic squalor of the subject palatable, while the supposedly poky little room unemployed 'showgirl' Susan Shaw rents looks luxuriously spacious by 21st Century standards.

No film with Maxwell Reed can be all bad. The director even used his height as a plot point - how can he hide in a crowd? Racer (Wall of Death) and Maguire (boxer) pick up Lilian (Susan Shaw) in a dodgy nightclub where they gamble away their savings. Racer wants to get back on the Speedway track, while Maguire wants to make it as a boxer. Meanwhile he falls in love with Lilian, but fears she has a thing for racer. The gruff trainer meanwhile is in love with the fortune teller - played to great effect by the wonderful Hermione Baddeley. "Your kabbalistic number is 69 and your lucky colour is blue - you're a Scorpio, I can tell!" The real star is the seedy background of the fair, the vans, and the grubby boarding house where Lilian is staying with a girlfriend - their show has closed and they're on their uppers. They still existed, with their Victorian furniture, in the 60s and 70s.

There seem to be a large number of these types of film produced in the fifties and sixties in the UK. They always seemed to have a very obvious villain and very obvious good guys, usually the only difference between the films would be the background setting. This is a good example of this type of movie because it's set in a rather run-down fairground populated by stereo-typical fairground types - the heart-of-gold fortune-teller, the gruff but kind boxing promoter, the naive up-and-coming boxer and the shady character riding the Wall of Death. Maxwell Reed plays 'Racer' the archetypal kid from the wrong side of the tracks with an unknown past and a huge chip on his shoulder. Laurence Harvey plays the gullible but likable 'Mag' Maguire who idolises 'Racer' despite the latter wearing the heaviest eye shadow seen on film.

I've always had a soft spot for these types of low-budget films because they seem to capture a snapshot of a post-war Britain that is long gone. The plot is predictable but enjoyable nonetheless.