Schmutziges Geld

This is a very decent British crime film with some excellent moments. Tom bell carries off the part of the main baddie pretty well but I do not feel he is consistently good throughout, although this may well be shortcomings in the script, which certainly needed tightening up. I thought Billie Whitelaw rather unconvincing as mother of two and amateur sleuth, but she just about gets away with it. No, for me it is Francoise Prevost who brings this film to life. She dominates every frame she is in and the whole film seems to step up a gear. We are uncertain as to her motives and I am sure this is intended if unusual in a film such as this. Most refreshing that we should take to a character and then not really be sure whether we should be cheering or not. Shades of 'The Wire'?!! There is some fine location action and indeed it is some of the car or hideout interiors that slow the film down. Overall though, well worth a watch and something out of the ordinary.

Payroll is a product very much of its time, borrowing elements from the urban realism of fifties and sixties British cinema upon which to hang its fast-paced, wages-of-sin morality tale. The film is set in Newcastle (though you'd never guess it from the accents) and features strong performances from Michael Craig and Billie Whitelaw, with Françoise Prévost sizzling as the femme fatale par excellence.

The film starts out as a by-the-numbers heist thriller, before taking a sharp turn into territory that almost anticipates the revenge movie vogue of the seventies and eighties. The parallel story lines are handled adroitly, as is the animal attraction between Katie (Prévost) and Mellors (Craig), although William Lucas's turn as Katie's useless husband lacks subtlety.

Payroll is still an engrossing, entertaining and even mildly shocking watch. One weakness which will jar with the modern viewer is the incongruous hot jazz score; silence would have been preferable and more suited to the film's aesthetic.

Well worth a watch, even half a century on.

One one level, PAYROLL (1961) is another in the long line of heist films so perfectly initiated by John Huston's THE ASPHALT JUNGLE (1950). At that level, the film holds its own: a British version of the familiar plot concerning a planned robbery, interpersonal conflicts, betrayals, and tragedy. But PAYROLL deserves special mention among the likes of ARMORED CAR ROBBERY (1950), RIFIFI (1955), THE KILLING (1956), ROBBERY (1967) and numerous others. This film has a fast pace and a dynamic directing style all its own. A fantastically exciting film with top-drawer performances by a cast that includes a few names that would achieve greater fame later on. A top-drawer Noir-tinged thriller with a strong sense of fatality, aided by Reg Owen's jazz-inflected music and by stark black & white photography, displaying Newcastle locations to great effect.

'Payroll' is astonishingly good and deserves a DVD release asap! Even though this movie is over forty years old there are still some super tension mounting scenes which had me on the edge of my seat! The ever reliable Michael Craig was particularly convincing, and well supported by the equally impressive Billie Whitelaw. William Lucas over-acted like mad in the scene where he breaks down, but other than that he was in fine form. The b/w film complimented the tale and made the seedier elements even more gripping and believable. I've seen this movie on auction sites a few times and it always attracts a number of bidders. In my opinion its a British gem!

Payroll is directed by Sidney Hayers and adapted to screenplay by George Baxt from the novel written by Derek Bickerton. It stars Michael Craig, Françoise Prévost, Billie Whitelaw, William Lucas, Kenneth Griffith, Tom Bell and Barry Keegan. Music is by Reg Owen and cinematography by Ernest Steward.

A vicious gang of crooks raid an armoured van carrying the wages of the local factory. When all doesn't go to plan and the driver of the van is killed, the gang start to come apart from within, just as the police and a vengeful widow close in on them...

As tough as old boots! Out of Beaconsfield Studios, Payroll is the kind of British neo-noir that is adored by those that have seen it and yet it still remains a sleeper. Set up in the North East of England in Newcastle-Upon-Tyne, there's a real sense of working class struggle pulsing through the picture. The character dynamics at work are nothing new in the history of the heist gone wrong movie, but the makers here insert two ladies into the equation and let them be prominent antagonists, and with some conviction as well. Time is afforded build up of characters, letting us into home lives and the planning of the crime, and then bam! It's the robbery and it pulls no punches.

Story is not without violence, and murders are coldly executed, and as the band of thieves begin to crack, led by ice cold scumbag Johnny Mellors (Craig), director Hayers puts them into a world of grim alleyways, terrace houses, back street pubs, sweat stained garages, marshy bogs and an imposing dockside ripe for a denouement. The mood is firmly set at fatalistic realism, and as Hayers tightens the noose around the dwindling gang of thieves, and Reg Owen's jazzy score flits around the drama (love that ominous double bass), we are led to a wholly satisfactory conclusion. Cast are great, especially the wonderful Whitelaw, and Steward's photography is crisp and on the money. 8/10

Footnote: Some scenes were filmed in Rugby, Warwickshire, so it's not exclusively on location in Newcastle. And of course as any Geordie will tell you, there's a distinct lack of Geordie accents in the picture.