Das schweigende Dunkel

When the picture begins, a blind rich guy has been dedicating himself and his fortune to building a new cricket stadium in memory of his son, Simon, who was killed during WWII. However, there's a bit of a problem with this. Unbeknownst to the old guy, the son is very much alive and he shows up to beg for some money from his 'widow' just before the stadium is dedicated. Where was he and why was he gone? It turns out Simon was a cowardly deserter who ran away to save his butt. And, through the course of the film, it becomes apparent he's a career criminal and sociopath! He's also there to shake down his poor wife now that she has remarried! And this is all learned rather early in the film. So what is next?

Nigel Patrick is exceptional in this film as Simon. Slimy, nasty and 100% unrepentant! And, in the process he makes everyone watching the film hate him thoroughly! Stephen Murray is also excellent as Simon's father...particularly when he realizes what's afoot and confronts his wayward son. All in all, this is one terrific film and I am glad I saw it. Quite the thriller and quite the finale!!

Prior reviewers have made very good points, so my view of the film isn't needed, but I do wish to echo admiration for the cast, tight production, fine musical score, sharp dialogue. Particularly pleasing is the wind-up scene at the end, where the legendary Seymour Hicks (please see his bio!!) gently insinuates a satisfactory way to deal with the events fallout (I don't want to give away the ending). Hicks keeps his head, thinking ahead. when the others are understandably off balance, and gives them an out. This was Hicks' last film.

Interesting to note that a couple of years after this film was made, Nigel Patrick married his stepmother in this script, Beatrice Campbell. Another fun fact is that Patrick was born in 1912, the same year Stephen Murray (who plays his father here) was born, but Murray acquires white hair for the movie, and the superb acting carries it all off.

Quiet, steady character development, but no dull spots as this story unfolds well-paced, and gains tension. Well done.

Another great performance by Nigel Patrick is the highlight of this Post-war British 'Spiv' movie (British crime films with roots in the Hollywood gangster cycle of the 30s, but with far less glamorisation of the criminal protagonists - see also DANCING WITH CRIME, NO WAY BACK and NOOSE, with the latter similarly boasting a superior Nigel Patrick 'Spiv' performance). In this one he plays Simon Rawley, the son of a blind self-made country squire who, believed dead and due to be publicly honoured in a grand memorial service by his doting father, fetches up one night at the family home and is revealed to be a cowardly deserter now plying his trade as a criminal. Rawley demands money, initially to go away but subsequently, upon discovering that his wife has found love in the arms of the doctor son of the neighboring Lord of the manor, seizes the opportunity for blackmail. With his stepmother and wife attempting to keep his return secret from his unknowing father, and with the local police searching the countryside for him (he has earlier assaulted a motorist and stolen the man's car), the scene is set for a tense and unlikely family reunion. Directed by the prolific Lance Comfort, this is a tightly knit, sprightly told crime story, whose limited cast and chamber-piece dynamic tightens and heightens the mounting drama. Well-shot and staged, and featuring occasional moments of intentional humour (especially when Rawley's elaborate and fraudulent explanation for his desertion and absence is juxtaposed with images of his real activities and criminal subterfuge), the film also manages to document some interesting historical class distinctions between the moneyed nouveau-riche Rawley senior and his neighbouring Lordship as it zips its way to a satisfying (if somewhat implausible) climax. Entertaining stuff, and well worth seeking out.

It was the curious title "Silent Dust" that drew me to this interesting story. Here is a film that draws on all the characteristics of well made Noir. Talented Director of Photography Wilkie Cooper has certainly worked very hard to give this film a great deal of visual vitality. This versatile D.O.P. certainly has an impressive list of titles to his credit, ranging from high Drama, Comedy, and Fantasy with such gems as: "I See A Dark Stranger" '46, "Stage Fright" '50 "Pickwick Papers" and a string of acclaimed Harryhausen classics that followed one after another...."7th Voyage of Sinbad", "Mysterious Island" "Jason and the Argonauts" the list goes on....Here, he is working with Cameraman Robert Day, who would later go on to Direct 'The Green Man' and 'Tarzan the Magnificent' (also penning the Screenplay) To help enhance their already strong creative moods, they have the talents of celebrated Art Director C.P. Norman known for: 'This Happy Breed', Night and the City, and 'Titfield Thunderbolt'. Little wonder then, with Director Lance Comfort (Hatter's Castle '42) they were able to reel in such an impressive looking drama.

The Cast also impresses, beginning with beautiful Sally Gray who initially trained as a dancer with Fred Astaire. After suffering a nervous breakdown in 1941 and being off-screen for a long five years, she graduated nicely into dramatic roles. Sally resisted invitations by Hollywood and retired following marriage, 'Silent Dust' unfortunately is one of her last performances. She shines in the role of the Daughter-in-Law to blind man Stephen Murray --who brilliantly plays his part-- The Wife, played by Irish beauty Beatrice Campbell tends to be a little stilted in her delivery, the director perhaps needed to work harder here. Sadly Beatrice's career was cut short with her death at 56. The Son, who hides many dark secrets, is performed with nasty skill by Nigel Patrick. Writers Michael and Ronald Pertwee have fleshed out interesting characters for this compelling story based on their play 'The Paragon'. A near-perfect descriptive Music score by classic French composer George Auric (Moulin Rouge '52) adds the final tonal touches to this intriguing tale.

This title remains well worth catching or buying on DVD - especially the newly released Netwerk vers - while not remastered it features well transferred, clear images and sound. If you were as unfortunate as I, you may have first caught this on Gem Digital TV in Australia. This channel has much to learn about presenting classic films, their annoyingly large 'Lolly Pink' graphics appear before and after each add break, often cutting off essential image and lines of dialog ~ please, let's see a little more respect shown for your viewers and the movies. Tone down the colour and size of your overdone logos! (Seven two, get my vote and more of my viewing for this very reason) K. Roche.

Blind, wealthy Stephen Murray (Robert Rawley) is disciplined and very matter-of-fact. He is wealthy and is the head figure of a country estate. He is organizing a memorial to his son (who was shot dead during WW2) to be unveiled when he is visited by Seymour Hicks (Lord Clandon). Hicks plays a far more sympathetic character and asks Murray to dedicate the memorial to all of the 50 or so villagers who never came back from the war, not just to his son. Murray refuses. At this point, we don't like Murray. One night, Nigel Patrick (Simon Rawley) shows up. Yep - he's the son.....and he's not been killed. He has quietly sneaked back to ask for money to make his escape as an army deserter. He hides in the house and the cast gradually become aware of his presence until he has a confrontation with his dad at the end, for which there can only be one outcome.

Stephen Murray and Nigel Patrick are the standout characters in the film. They are unpleasant people who I find quite likable, and this is due to the way that they deliver their dialogue. Blind Stephen Murray becomes more sympathetic as the film progresses as he stumbles across various anomalies in the household that he runs. Nigel Patrick is great as a lying 'spiv' - his recounting of his life story when he was supposedly on the run is very effectively told against a flashback of what actually happened - a great contrast.

I wasn't sure where the film was going for the first quarter of an hour or so, and was dreading that I had purchased a British comedy because of the comedy music used to accompany Seymour Hicks on his bicycle. Thankfully not. Things pick up with the arrival of Nigel Patrick and its a joy to watch from then on. I do wonder why they pick women that look the same - schoolboy error in the casting department - Sally Carr (Angela) and Beatrice Campbell (Joan) are thoroughly interchangeable. The best female role goes to the housekeeper Yvonne Owen (Nellie).

Overall, some great scenes, some good dialogue and a film worth seeing again.