House of Blackmail

Really feels quite a bit earlier than the 50s and the cheap film stock doesn't help matters any. It's not just that though. The plot itself reminds me of 30s films, as does the soundtrack. I know I recently said this about a previous film I watched but this is very Edgar Wallace, Maybe I only feel that way because I've been reading him lately but then again his impact on mysteries and thriller since the 20s is not only undeniable but prodigious. This is quite an entertaining little film, falling squarely into the Mystery/whodunit genre and not really veering anywhere towards noir or even thriller. So it's good but quite safe. I'm thankful there's not too much comedic relief, as there often is with films of this kind, but it isn't dark or energetic either. A solid middle of the road mystery film.

Despite the menacing title, William Sylvester's first stint as a virile & good-humoured 'B' picture leading man (actually billed second to squirrel-faced Mary Germaine) in this droll A. C. T. Quickie shot at Nettlefold is generally a pretty light-hearted affair, with an annoyingly jaunty score noisily emphasising the fact.

Although set in the usual enormous house, Maurice Elvey's uninspired grouping of his cast as they chatter away (including Denis Shaw as a gentleman's gentleman who makes Parker look like Ronald Colman), the film seems long and cramped, although cameraman Phil Grindrod as usual delivers in the dramatic scenes after dark.

From the theme music I was expecting a comedy but it turned into an above average thriller I thought the 2 leads bounced off each other well and mary germaine held her own as genuine costar but the other men in the house were poorly written.but with the short run time it didn't drag and held my attention throughout.

William Sylvester used to pop up in some many British productions I always thought he was a British actor. This was until I saw him in the US movie, The Lawyer which spun off the television series Petrocelli.

Sylvester plays mysterious hitchhiker Jimmy who comes across fashion photographer Carol Blane. She is on her way to a house to talk to Markham who is blackmailing her brother for a bounced cheque. He demands £5000.

At a cafe, Carol who comes across a report of an escaped convict that matches Jimmy's description persuades him to accompany her for £50. Carol asks Jimmy to play the part of a lawyer.

They both engage with Markham and his associates. The house has a butler who likes to listen in through the keyhole. Later that night Markham is found dead. Both Jimmy and Carol are suspects.

This is an unpretentious murder mystery B movie and a rather effective one as well. There is comedy, mystery and plenty of suspects. Sylvester does well in keeping his motives mysterious.

I think the blackmail angle would had worked better, if Carol's brother was being blackmailed for being gay rather than a bounced cheque.

HOUSE OF BLACKMAIL is an updating of the 'old dark house' style of murder mystery with added romance, blackmail, and escaped convict antics. The storyline involves a friendly but ruthless blackmailer (played by Alexander Gauge, well known to audiences for his role as Friar Tuck in THE ADVENTURES OF ROBIN HOOD TV series) who has a foolish young man in his grips. The young man enlists the help of his sister to visit the blackmailer and help pay the debt. She picks up a mysterious hitchhiker en route and arrives at the blackmailer's home to find an assortment of characters present, each with their own hidden motivations.

The blackmailer is killed in the middle of the night and the inhabitants of the household cut off until the morning. One of them is the murderer, but which? HOUSE OF BLACKMAIL will reveal all, but not before a running time full of creeping about in corridors, false accusations, the burning of important documents in a grate, and a lot of hold-ups with guns have taken place.

This is a pretty entertaining little movie that offers up nothing we haven't seen before, yet it somehow works thanks to a fast pace and a focus on the mystery aspects of the story. There's no time for slow-moving romances and the like here, just a script that keeps you guessing. William Sylvester does well as the protagonist mixed up in the proceedings who may or may not hide his own murky motivations, and Mary Germaine is a pleasingly modern heroine. Denis Shaw's butler stands out, listening at keyholes and keeping racy pictures plastered to his bedroom walls. The ending is unsurprising but ties up this little mystery quite neatly.