The Depraved

Great plot, well written story and good directing. The movie starts of from a surprising angle. Such femme fatale movies can be quite predictable all over, but this movie offered sufficient eye candy to stay entertaining.

I have to admit off the bat that I had never heard of Director Paul Dickson. In light of that, and of the fact that THE DEPRAVED is a B picture done on a shoestring budget, I can only praise the quality of the ensemble work that went into the film, and which he oversaw with obvious competence and even flair.

To that extent, Dickson relied on three superb performances: Anne Heywood, as the cucumber-cool scheming wife and femme fatale; Carrol Levis as Major Kellaway, a thoughtful, supportive senior officer who realizes that his subordinate has played a part in Anne Heywood's husband's demise; and Robert Arden, who manages to convey honesty, decency, and thoughtfulness... until he falls in love with Heywood, who suckers him into murdering abusive hubby Dignam.

It is true that THE DEPRAVED does not present any novel twist. As other reviewers indicate, it borrows ideas from THE POSTMAN ALWAYS RINGS TWICE when Arden pushes the vehicle into a lake, and DOUBLE INDEMNITY from the moment Heywood keeps the husband's wallet with the clear intent of making Arden the fall guy.

In fact, given a part where she says very little, Heywood's facial expressions are what truly build up her character as completely selfish femme fatale. The film's conclusion is inevitable, Arden has nothing more to lose.

Cinematography by Jimmy Wilson is exceptional for a B film, the score is quite pleasant, but jarringly cut by Heywood's husband's mood swings and vicious hands. The script by Brian Clemens may borrow some ideas from great James Cain novels, but it still deserves high praise for its objectivity. It held my attention to the end of its 71 minutes.

Recommended viewing.

Of course the story is derivative ; it borrows from "double indemnity" and " the postman always rings twice " .But the suspense is sustained throughout .

Unlike both heroines of the movies I mention above,Laura ,in her first scenes ,is considered a victim whose husband is a brute: he is an alcoholic and beats her . Although very attractive , she did not look like a femme fatale at first sight :she's rather bashful ,and it's all the more surprising when she reveals her true colors.

To have located the action in an American military base in England justifies the party "where the soldiers and officers can meet the local population ".And a local Hercule Poirot is at hand .Not a film noir masterpiece ,but entertaining throughout.

Married Anne Heywood begins an affair with US Army captain Robert Arden. Soon they determine to murder her husband.

It's a variation on DOUBLE INDEMNITY and not a particularly good one. Like almost every Danziger production, the first annoying thing was the score, which consists of a single theme, repeated with no variation. Other issues include the rather lackadaisical manner in which the local Army base is run. Line readings are overwrought, and the lines themselves are not particularly interesting.

The Danzigers knew they were not creating great works of cinema. They were almost strictly a second feature operation. Still, even their American equivalent, Lippert, put some effort and well-known, if faded, stars in their productions. This one doesn't seem to have been intended to do more than fill in a one-hour gap in a program, and it does so poorly.

A U.S. Army captain stationed in England falls for a local woman (Anne Heywood) whose brutish husband beats her and before long a murder plan is hatched...

It's quintessential noir, plot-wise (from the template forged by James M. Cain), and the story's by Brian Clemens of THE AVENGERS fame but except for some nice b&w photography and a blue-sy score, there's reely nothing new in what looks to be one of the last of Britain's "quota quickies" before the Act was repealed in 1960 (even if it was filmed in Ireland). A modest effort that ought to keep any noirista glued to the tube, nonetheless.