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The Long Memory is directed by Robert Hamer who co-adapts for the screen with Frank Harvey from Howard Clewes' novel of the same name. It stars John Mills, John McCallum, Elizabeth Sellars, Eva Bergh and Geoffrey Keen. William Alwyn scores the music and Harry Waxman is the cinematographer. Plot sees Mills as Phillip Davidson, a man released from prison after serving 12 years for a murder he didn't commit. Finding a base home on a dilapidated barge in a boggy Thames inlet, Davidson sets about finding the liars who were responsible for his incarceration.

Moody and often downbeat, The Long Memory is a well directed and acted British crime thriller. Met with much negativity from the critics upon its release, it's a film that has since been re-evaluated and garnered better critical praise. Seen as a forerunner to Get Carter, it's also been mentioned in the same breath as They Made Me a Fugitive and Carol Reed's excellent Odd Man Out. However, a decent film it is for sure, but it's not in the same class as the three film's mentioned. The focus of the novel was the cop Bob Lowther (played by McCallum), but here it's rightly shifted to Davidson and his pursuit of those that wronged him. A good move that, even if the big culmination of the movie is a touch too contrived and not the moody high point it could have been.

John Mills was already established as an actor of note due to his fine work in the 40's, so this off the cuff film was, in his own words, merely a "job" for him, a means to pay some bills, and at first glance it looks an odd casting decision. John Mills as a vengeful ex convict stalking the dank London and Gravesend streets in search of revenge-hanging around in a run down coffee shop-living in a slum boat, doesn't sound right. Yet he cuts a surprisingly rugged figure, with stubbled chin and greasy kiss curl hair, he slots in nicely to the grungy backdrop painted by Hamer and Waxman. It's only really these two elements that make the film worth seeking out by fans of noirish British crime movies. There's the constant thought nagging away while watching it that it's a missed opportunity, a chance wasted to make a really bleak and potent thriller. What remains is decent in tone and narrative, if ultimately it's a watch once only movie. 7/10

When I first saw this film about 5 yrs ago I was excited because I was unaware of the film and I read a preview in the TV listings that said some was filmed in Gravesend,my home town. The location filming was excellent but certain things grated on me like the tea shop in the middle of nowhere on the marshes down river from Gravesend where any passing trade could not have supported a business also the detective in regulation raincoat and hat who followed John Mills into the tea shop.I have now watched the film again today and enjoyed it much more and would say it is a little gem of the time and genre. I am still thrilled by the location scenes in Gravesend,not quite Carol Reed's Third Man but very atmospheric, the street near the river is much changed today but the small church like structure clearly seen in background shots was a seaman's mission and is still there today also in one shot you can see the spire of St Georges,Gravesend's parish church which is where Princess Pocohontas is buried.I feel John Mills really conveys the feeling of a man with a 12 year grudge and the scenes with Ilse where the grudge melts are beautifully portrayed.In his autobiography John Mills describes the film as "an extremely good thriller" but infers that director Bob Hamer had a drink problem and describes him as twice while filming night shots he fell into the Thames while walking backwards looking through a viewfinder!

Robert Hamer was not a prolific director; only around a dozen films are credited to him, and because of his serious alcohol problem there is some doubt as to the extent to which he was responsible for some of those, especially his final film, "School for Scoundrels". His career has been described as "the most serious miscarriage of talent in the postwar British cinema", yet during that relatively brief career he was responsible for some of the best British films of the forties and fifties. He is today best remembered for that brilliant Ealing comedy, "Kind Hearts and Coronets", but was capable of producing serious movies as well as comedies; his "It Always Rains on Sunday", for example, is a crime thriller showing the influence of the film noir style.

With "The Long Memory" from 1952, Hamer moves even closer in the direction of noir. The plot, based on a novel by Howard Clewes, owes something to Dumas' "The Count of Monte Cristo". A young man is sentenced to imprisonment for a crime he did not commit. Upon his release, he sets out to get revenge upon those responsible for his wrongful conviction, including his treacherous fiancée. The hero, Philip Davidson spends 12 years in prison after being wrongly convicted for murder, a conviction procured by perjured evidence given by his fiancée Fay, her father Captain Driver and a man named Tim Pewsey. Fay's motive for perjuring herself was to protect her elderly father, who had become mixed up in a criminal enterprise with Pewsey and another man named Boyd, the actual murderer.

Some purists maintain that film noir was an exclusively American genre, but I have never concurred with that opinion, as there were also a number of British films (and indeed French ones such as "Les Diaboliques") which share the characteristics of noir, and this is one of them. One of the classic noir features is the morally ambiguous lone male hero, and John Mills' Davidson is certainly a character of that type; had this been a Hollywood film he could have been played by Bogart or Mitchum. Although he has been the victim of a grave injustice, and in that sense has a claim on our sympathy, his experiences have made him, in many ways, an unsympathetic character, vindictive and unsociable. After his release he goes to live in a disused barge on the marshes, a dwelling reminiscent of Richard Widmark's wooden shack by the riverside in a great American noir, "Pickup on South Street". Davidson's closest friend is another of life's victims, wartime refugee named Ilse, and he has other allies in his fight to clear his name, including Craig, a journalist, and Superintendent Bob Lowther, a policeman who believes that a miscarriage of justice may have occurred. Lowther's position, however, is made difficult by the fact that he is married to Fay, the woman whose lies were responsible for Davidson's conviction.

Other noir characteristics present in this film include dramatic, expressionistic black-and-white photography and a gritty urban setting, with the dingy backstreets of Gravesend (a riverside port east of London and not normally regarded as an important cinematic location) here fulfilling the role which in an American noir would played by Los Angeles or New York. The setting is not, however, exclusively urban; many scenes were shot on the North Kent Marshes, the area around Gravesend and Rochester immortalised by Dickens in "Great Expectations". This marshland landscape around the Thames and Medway Estuaries, an area which I know well, is not conventionally beautiful in the way in which, say, the Lake District or the Cotswolds are beautiful. Indeed, it can often be bleak and forbidding, but it is also powerfully atmospheric. It makes a fitting setting for this tale of crime and revenge and gives the film has a strong sense of place. The film ends with justice being done, but here too there is a note of doubt and uncertainty; it is not, for example, clear whether Lowther's marriage to Fay can survive the revelations about her past.

The most famous British noir is probably "The Third Man", a British-made film even though it is set in Vienna. "The Long Memory" is less well-known, but with a strong performance from Mills in the leading role, its powerful storyline and Hamer's atmospheric direction I would place it in the same class as Carol Reed's masterpiece. 9/10

This is a highly superior British film directed by Robert Hamer. All of the cast give splendid performances, and there are some truly wonderful character roles, the best such performance coming from John Slater, who is amazingly bizarre and original. The film features a man let out of prison after twelve years for a murder he did not commit, and his search for the people who gave false witness and put him there. John Mills delivers one of his first rate performances as a grimly determined, sombre and brooding man who is obsessed with the injustice done to him. With him at the centre of the story, the entire film then becomes wholly convincing. There are some wonderful location shots, and the row of abandoned barges rotting in the mudflats of the Thames Estuary is an eerie main setting for much of the action. Elizabeth Sellars is particularly effective in making this film work. She plays a despicable coward, whose cowardice runs so deep it effects every aspect of her existence. In order to portray something as profound as this, it was essential that she do so with understatement and restraint, occasionally veering near to immobility as the fear freezes her up inside. The fact that Elizabeth Sellars does this successfully and never gives way to the temptation to overact or settle a scene with some easy broad stroke is a tribute to her professionalism. Eva Bergh is a bit too young and pretty for her part as the Eastern European refugee girl, but that is the only slightly false note. Thora Hird is marvellous, as always. John McCallum underplays his police inspector-married-to-a-dodgy witness role very satisfactorily. The story culminates in the main characters having to face moral choices, so that this powerful, gripping and effective thriller is not only well made, but has a worthy purpose.

This is an excellent British film, which has managed to pass the test of time, and still stands today as an absorbing & well executed piece of work. The story line is strong, and the locations are particularly memorable, especially the bleak & foreboding Kent coastline which adds significantly to the brooding atmosphere. The performances are uniformly excellent, with the sole exception of Elizabeth Sellars who barely changes expression throughout. John Mills gives one of his most intense performances in the lead role, and demonstrates once again what an extremely fine actor he always was. The direction & editing are first class, and the film never falters in holding the attention. For fans of the genre, this is not to be missed.