Füge eine Handlung in deiner Sprache hinzuEdward "Teddy" Bare is a delusional psychotic with a lust for wealth, older women and murder. Having committed what he thinks is the perfect murder of his elderly wife; Teddy sets his sights... Alles lesenEdward "Teddy" Bare is a delusional psychotic with a lust for wealth, older women and murder. Having committed what he thinks is the perfect murder of his elderly wife; Teddy sets his sights on new targets when her fortune goes elsewhere.Edward "Teddy" Bare is a delusional psychotic with a lust for wealth, older women and murder. Having committed what he thinks is the perfect murder of his elderly wife; Teddy sets his sights on new targets when her fortune goes elsewhere.
- Nominiert für 1 BAFTA Award
- 1 Nominierung insgesamt
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Edward Bare (Bogarde) marries an older woman for money, murders her and finds that inheritance is not forthcoming. Setting his sights on another lady target, he gets more than he bargained for when he homes in on Freda Jeffries (Lockwood)...
You! Whatever you do, leave me alone!
Splendid slice of Brit noir that takes the Bluebeard route and lets the actors indulge themselves with glee. There's a bubbling broth of class distinction and simmering sexual tensions on the stove here, with Gilbert (The Good Die Young) and Asher (The Curse of Frankenstein) dressing it up nicely in moody visuals. From a Ghost Train opening, where the eyes have it, to the consistent symbolic use of a rocking chair, there's a sinister edge to the piece that tickles the spine and tantalises the conscious. We are pretty sure what is about to unfold in the plotting, but the getting there through the shadows and low lights is where the rewards are.
The cast are uniformly impressive. Bogarde by this time in his career was revelling in playing sleazy or emotionally corrupt characters, and he turns in another memorable performance here. Walsh and Flemyng are playing peripheral characters but strike the right narrative notes, and Harrison is heart achingly doltish as bewildered housekeeper Emmie. But it's Lockwood who shines brightest, here at the end of her film career, she delivers a spitfire turn. Freda is tough, has a waspish tongue (the script affords her some great moments) and uses humour as a mechanism for staving off potential peril. She also has a sexy glint in her eye that matches her ferocious laugh!
It sometimes veers towards the over theatrical, and director Gilbert at times misses a chance to really tighten the suspense, but this without doubt is deserving of a bigger fan-base. 7.5/10
Alas he gets it all wrong and so is left 'financially embarrassed'. Well as he has gotten away with murder once he decides he needs another Mrs Money bags with a short potential life span and so he puts another dastardly plan into action.
This is lovely for all the right reasons. Bogarde as the deranged yet charming killer is just excellent – his facial expressions alone make this film. The supporting cast including Margaret Lockwood and Kathleen Harrison as the maid are all superb and totally believable in their respective roles. This was an adaptation of a play and that come across at times but it does not matter as this is a 'sit back and enjoy film' of how the other half once lived and more importantly died – recommended to all fans of old black and white British crime flicks.
The film betrays its theatrical origins many times over and is firmly couched in the thriller conventions of its time. Dirk Bogarde, one of the best actors to emerge from postwar British Cinema is caught in a web of clichés as badboy Teddy: (The one original aspect of his character is a clearly signaled penchant for muscle men) but the one good reason for all fans of Ms. Lockwood to see this flick, is the opportunity to see her cast off the Wicked Lady mantle and assume a straightforward, eminently practical, tough-talking persona that we have never seen before.
"you wouldn't like this one Monnie" says Teddy in imaginary dialogue with his late victim, "She's common". Well, Monnie might not like her, but be assured dear reader, you will.
Wusstest du schon
- WissenswertesWhen Edward tells Freda that she should have checked up on him with "Somerset House", he is referring to the fact that it then housed the Public Records Office where one could see any deceased person's will.
- PatzerTeddy confesses the murder to Freda, then says he is safe because a wife can't testify against her husband. This is a common misunderstanding. A wife cannot "be made" to testify against her husband, but there is nothing to stop a woman testifying of her own free will.
- Zitate
Freda Jeffries: We buried my poor Albert six months ago.
Edward Bare: What was the matter with him?
Freda Jeffries: He was dead!
- VerbindungenReferences Ein Herz und eine Krone (1953)
- SoundtracksLeave Me Alone
(Le Grisbi) (uncredited)
Music by Jean Wiener
French lyrics by Marc Lanjean
English lyrics by Geoffrey Parsons
Sung by Lita Roza
Top-Auswahl
Details
- Laufzeit1 Stunde 22 Minuten
- Farbe
- Sound-Mix
- Seitenverhältnis
- 1.66 : 1