Crown v. Stevens

If you're looking for directorial distinctiveness (because the film was directed by the great Michael Powell), you'll be hard pressed to find much of it in this movie. Powell simply moves the story along deftly, managing the many dead ends and fresh starts in the plot so that they all seem quite natural. The plot itself is tepid by today's standards (and possibly also by the standards of the time). Certainly the shock value of a woman's role in the death of a moneylender is minimal. Some of the acting is a bit over-the-top, but when the characters appear at their most natural in their day-to-day working-stiff lives, they shine the most. Overall, as satisfying as the experience was, I couldn't give this film more than six stars.

A few years later, this would have been a film noir. It's an early work by Michael Powell. And the guy knew something about noir: How about "Peeping Tom"! Patric Knowles is perfect as the central character. He is a bit timid. He's genuinely attractive; so we understand why the ladies like him. He has a gentle quality that makes us care what happens to him.

This movie, like much film noir, involves a mercenary woman. There's a good woman, too.

It's directed smoothly and moves along quickly. I can't think of anything to fault it for. It's not a great movie. But it's an extremely skillful presentation.

Patric Knowles is engaged to Mabel Poulton, who leaves him and absconds with the as-yet-paid-for ring. This leaves Knowles indebted to unpleasant money lender Morris Harvey, who is not inclined to be forgiving. Knowles shows up at Harvey's shop only to find him murdered and encounters Beatrix Thomson fleeing the scene. He soon discovers that Thomson is his employer's (Frederick Piper) wife, and she tries to involve him in a scheme to kill him.

This is essentially a low budget quota quickie made by Teddington Studios, a British studio bought by Warner Brothers to produce British B films to pair with their A films in Britain. Despite being an obviously low budget outing, there are a few things of interest.

The main point of interest is that it's an early directorial outing for Michael Powell, although truth be told, besides being competently assembled, it doesn't bear much of his stamp. Thomson clearly dominates the film, and it's a welcome shift when she becomes the focus in the second half. It's also worth noting that even though the film bears the Warner Brothers logo, it was never intended to play outside of Britain, so it has more that a few elements that don't comply with the Production Code.

British character actor Bernard Miles pops up as a cop.

As part of TCM's rolling out of films from Teddington, a small British studio, "Crown vs. Stevens," a 1936 film was shown.

These Teddington movies are done on the cheap, with poor production values, no names in the cast, and made very quickly. Nevertheless, the studio managed to pull them off with some good results here and there.

The very handsome Patric Knowles, who would soon come to Hollywood, plays a man taken advantage of by his fiancée - she takes off on him before he's paid for her ring, which she refuses to return.

His nasty cheapskate employer won't give him a raise or an advance, so he's forced to go to the seller to explain that he can't pay. He's promptly threatened with legal action if he doesn't show up with the money.

When he returns, sans money, he finds a woman has just killed the man and burned his books. It turns out to be his boss' wife, and she begs for his silence. He finds himself in a moral dilemma.

This movie held my interest and has a very satisfying denouement. We see so many B movies done in the U. S., why not some from Britain as well? Teddington isn't big on glamor and stars but seems to have tried for decent stories.

Patric Knowles is a reliable lead in this quota quickie.Within a year he would be supporting Errol Flynn in The Charge Of The Light Brigade.Bernard Miles is appearing in his fourth film at the beginning of what would be an illustrious career on screen but primarily on stage.Mabel Poulton was a big star of the silent screen.However she had one problem and that was she had a cockney accent,Now whilst this was no hindrance to Michael Caine 30 years later,it was alas to poor Mabel.In those days it meant that you were going to end up playing supporting roles.In a parallel to John Gilbert she was handed a lucrative long term contract just before the end of the silent era and just like Gilbert her descent was equally rapid.This in fact was her penultimate film.After one more film her career in films ended.This film is a fairly conventional quota quickie with a rather pat ending.Always interesting but rather less than engrossing.