Schrei im Morgengrauen

Once again,I won't tell the topic of this solid UK drama, Long Horn has done it very well on the summary line. I will just point out that Richard Attenborough gives here a powerful, outstanding performance as a lost soul, not a lunatic, but a character for whom the audience can't not feel some empathy...

But no user seem have noticed that picture is very similar to Marcel Carne's LE JOUR SE LEVE, starring Jean Gabin as the lead. And it is absolutely obvious; a blind man, only by hearing the dialogues, could tell the same thing.

That's all, folks. I have nothing to add.

Oh, yes, I think Don Chaffey's films are hard to purchase, but when you can make it, it's worth. I know this guy directed some AVENGERS TV series episodes.

I don't think its any coincidence that this film came out the year after 12 Angry Men.

Dicky Attenborough is the accused and the 12-man jury is made up of his fellow tenants.

Good film but would have made a better TV episode - tighter and more focused.

This a production from ACT the film technicians union who made 23 films between 1951 and 1962.The aim being to give employment to their members.It has to be said that most of the films were unmentionable and modestly budgeted.Given that this is not one of the best remembered of Richard Attenboroughs films,the film is mainly confined to the house and there is no music it could be said that the film conforms to type.At 84 minutes it rather lustrous it's welcome and it could be said that this would probably worked better as a TV play.British Lion often had a struggle to get its films booked on the major circuits so I think that any success for this film would have been limited.

Interesting "siege" film from the 50's where director Don Chaffey has clearly set out to stamp his own credentials on the production, even though he was obviously working to a limited budget.

Similar to most contemporary films, there are few opening credits, with just about every thing left to the end. The story runs in "real time" and crucially the choice has been made to dispense with any musical soundtrack. The use of everyday sounds and noises becomes an important feature in the narrative and certainly ramps up the suspense. The other interesting aspect of the siege is that there are no hostages taken. Rather it's all about getting the protagonist to peaceably leave his room in a block of units and go quietly with authorities.

Wilson's/Watson's motivations behind his actions are effectively and some what mysteriously drip-fed to the audience, though I feel it was a little unrealistic having his fiancée Helen Grey, "negotiate" with the police in giving them his true name. It's not like he's a career criminal and the whole exercise seemed quite pointless.

The movie also deals in an even-handed fashion, as to the best means of dealing with a domestic siege; a facet of police work still of great relevance 60 years later. Some characters argue giving reasons for a negotiated outcome, whilst we and others are given explicit onscreen evidence that it may be better to finalise the situation in a less restrained manner.

In a relatively short film it is inescapable that the story is weakened by being padded out, with us being continually shown the ongoing inter-relationships between the block's other residents. Though well-acted by the supporting cast, they don't have a huge bearing on the main narrative, until arguably near the end where another resident becomes instrumental in drawing the siege to its conclusion.

Potential viewers looking to watch something different in the way. of British "B" films, could do a lot worse than giving The Man Upstairs a friendly neighbourly glance.

This tense drama - about a disturbed man locked in his apartment room wanted by the police and seemingly in an untenable situation - is quite unusual in its structure.

Apart from the studio and title of the film, there are no opening credits. There is no background music and the film takes place in 'real time'. These are challenging restrictions for a film but director Don Chaffey does a largely splendid job.

The secret to the film's success is that it doesn't excessively focus on the central character (played by Richard Attenborough in his typically intense, brooding style) but places him in the context of the law, support organisations and ordinary citizens (represented by other tenants of the building).

The film deftly creates a range of characterisations who either want to help or apprehend 'the man upstairs' or just have him out of their way for their own personal reasons. It highlights how a character in the plight that Attenborough's is in is reliant on sensible, selfless and practical measures by those around him to not potentially ruin his life.

While not a classic, 'The Man Upstairs' is a fine film, worth seeking out.