Tread Softly

Very awkward in places to understand what this film foregrounds? Is it the weak plot, or is it to promote the life of the theatre? Certainly as it was filmed on the stage for most of teh film and saved money and nay further location shots? The film features an unmemorable music score - but the dance routines intrigue? Did Kenneth MacMillan (having a bit part in this film) play a role in their choreography? (uncredited if he did). No idea if the leads could sing, Bentley doesn't really solve anything other than the pursuit of the lead lady. I hope someone can investigate the link with a knight of British dance? KM ignores this in his biography. So the film is worth the visit.

There is virtually no part of this plot which has not been used better elsewhere.The basic premise of murders being carried out backstage at a theatre had been in constant use since the coming of sound.So the real shock comes when you see an ageing Frances Day at the beginning of the film.She was only in her early forties but looks much older.Apparently she was known as the Marilyn Monroe of the thirties.She had affairs with 4 royal princes,Anthony Eden and some well known female film stars.It is little surprise that she does not survive till the end of this rather moth eaten film.After all characters being murdered to try and preserve a secret is the basic premise of Gaslight.The pairing of John Bentley and Patricia Dainton fails to breath life into this film.

More a revue than a whodunnit. 'Tread Softly' makes good use of the deserted theatre as a setting; although it does rather go on, and the scenes with Nora Nicholson were so stilted I thought they were from a play within a play until I realised the police were still there asking questions.

In her first film since the war, blonde-maned Frances Day at 43 provides prewar thirties glamour as the diva whose position is soon to be usurped by ingenue Patricia Dainton. Betty Bascomb meanwhile displays the same menace she also did not long afterwards as one of the conspirators in Hitchcock's 'The Man Who Knew Too Much', while Harry Locke - in loud checks and a bow tie as the usual over-eager publicist, subtly named Nutty Potts ("There's nothing like a nice juicy murder to interest the public!") - gets a chance to show he can tap dance.

TREAD SOFTLY is a fairly interesting little murder mystery thriller, although with a theatrical revue as a backdrop it feels the need to pad out the (short) running time with endless song and dance routines which really drag the pacing down and have dated quite considerably in the ensuing years. As much as I love watching Patricia Dainton, there's something faintly embarrassing about the way she carries herself in these numbers; she looks ill at ease and her performance suffers as a result, although off the stage she's a lot better.

Otherwise, the film is quite interesting. It's a shame the murder mystery aspects of the narrative are so limited because they're quite classic and influential. The use of the dusty, run-down old theatre is a good one but the cameraman can't even bring himself to show us the moment when a corpse is discovered in a locked room. The film reminded me of Pete Walker's THE FLESH AND BLOOD SHOW in its depiction of fallen performers committing violent revenge and latterly the excellent Italiah giallo STAGE FRIGHT with which it has more than a few stylistic similarities.

The cast is a decent one for what is a B-movie on a B-movie's budget. John Bentley is the erstwhile hero and he certainly looks dashing even if he doesn't have much to do. The viewer is also treated to a youthful and earnest Robert Urquhart (THE CURSE OF FRANKENSTEIN) and John Laurie (DAD'S ARMY) as a waspish accountant. The ubiquitous Ronald Leigh-Hunt is the copper investigating the murders. Frances Day has a nice role as the bitter starlet. The identity of the murderer at the end is a good one too, it's just a pity that the horror aspects of the story weren't better focused on.

This curious mixture of light thriller, comedy, and mystery diffused with variety act musical numbers appears somewhat dated even at the time of release in late 1952. It's not unlikeable however, particularly with such a well-stocked cast. John Bentley is, as ever, supremely good at playing the decent (if slightly bland) and genuinely nice leading man, this time paired with Patricia Dainton. Frances Day is given lead billing in some notices, which must allude to her previous fame as a nightclub singer and cabaret performer, but really is only in the first part of this film. Nice to see John Laurie- later and unforgettably, the lugubrious Private Fraser in Dads Army- in an uncharacteristically light-hearted role as the long-suffering theatrical agent.

Harmless old-fashioned fun not to be taken too seriously- well why not?!