Cita con el crímen

William Hartnell is part of a smash & grab crew led by Raymond Lovell. When Hartnell smashes a jeweler's window, a protective gate drops on his wrists, breaking them, and the crew takes off without him before the police arrives. After serving time in prison, Hartnell wants to get even with Lovell and his crew, by framing him for the murder of his chauffeur, using Lovell's gun. He establishes an alibi for himself through dancer-for-hire Joyce Howard, but police inspector Robert Beatty thinks Howard is a bit too eager to support Hartnell's alibi and digs deeper. Lovell's gun however belongs to Herbert Lom, art dealer by day, Lovell's criminal boss by night. So rather than getting even with Lovell, Hartnell now has to deal with the police, as well as Lom.

Hartnell ('Brighton Rock', the first Doctor Who) plays his character as tightly wound as possible (or incredibly stiff, depending on your point of view), which works well for me. Every time you sorta start to feel sympathy for him, he does something mean again (despite caring for Howard, he still deceives and lies to her to save his own skin). Lom ('Night And The City', 'Hell Drivers') is great as a suave crook. They are the standouts in an otherwise decent but unremarkable cast. I wish Joyce Howard's character wasn't written as naively as it is, it doesn't work too well with the 'street wise' side of her character.

The movie starts out great with a quick set-up and some really nicely done shots, including extreme Dutch angles and shadow-rich scenes. I was hoping for a precursor to the awesome 'Brighton Rock' already, but after a while things start to lose steam. There are still plenty of shadows and decent shots, but the plot becomes unnecessarily muddy and even slow in places. It is however gritty, both in Hartnell's character as in the overall feel. Not a bad effort from director & writer John Harlow (who also directed/wrote a couple of Sexton Blake movies) but it doesn't live up to the great first 10-15 minutes. 6.5/10

... Just transpose the James Cagney of "The Public Enemy" into immediately post-war Britain and make him a loner, but a bit of an enigma at first. But as the film rolls on you will not like what you learn about Hartnell's character, Leo.

Leo is recruited by a couple of gangsters - Loman and Hatchet - who use a dance hall as a front, to do a smash and grab job at a jewelry store. Things go terribly wrong when a protective awning in the display window falls on Leo's wrists and he is then apprehended by the police and does time. The gang does not stand behind him as they had promised after Leo gets caught but, seriously, what could they have done but get caught themselves? But Leo is the type to hold a grudge. When he gets out of jail he goes straight to Loman and says to pay the debt they owe him - the imprisonment and permanent damage to his wrists - they should give him a job. He is rebuffed and thrown out. And from there Leo becomes the original Darkman minus the burns and decides to frame the framers, so to speak.

The film is - I think - being intentionally vague about what Leo did before he was caught and imprisoned. The beginning might even have you believing he might have been a musician, as I could not see what his obsession was with the permanent damage to his wrists. That is probably so that he initially has the sympathy of the audience. And they don't really change that characterization much until a true sympathetic character - a dance hall girl, worn down by life at a young age, who is impressed by Leo's kindness and attention in the face of his excon "just one mistake" underdog status - appears.

This film has something you would not see in American films at the time since Britain never had an all encompassing production code like the US. In this film the something that you would not see in American movies is an almost openly gay couple who have pretty prominent roles, with one member of the couple being particularly flamboyant for the time.

One thing that this film does that you would see in 1946 American films? This British noir, one year after the war is over, when Britain is still largely in ruins, has completely erased the war. Apparently the crime syndicate in the film, the police careers involved, and the dance hall girls along with that noir lifestyle have histories that seem to go back five years without mention of warfare.

I'd recommend this one. It doesn't have any stars that most Americans will have heard of with maybe the exception of the always interesting Herbert Lom, but everybody does a commendable job in a film with a plot that will keep your interest and plenty of atmosphere.

For Dr. Who fans, this film would be an interesting thing to see. While William Hartnell (the first Doctor) made quite a few movies, he didn't star in all that many...and here he is the star.

The film begins with Leo (Hartnell) doing a smash and grab job at a jewelry store. It goes horribly wrong and Leo's fellow gang members run away and leave him to the authorities. It's pretty doubtful they could have done much to help...but Leo is the type to hold a grudge. When he eventually gets out of prison, he seems to have one thing on his mind....revenge against his old mates. Soon they start dying off...and you wonder if Leo will take them all out during the course of this movie. However, some of the gang members are real tough and clever sorts...perhaps they can stop him before it's too late.

If you like film noir, then you'll probably enjoy this. Hartnell plays a real nasty little rat...sort of like a Jimmy Cagney type but much more vicious. It also has a really dandy ending! Well worth seeing...for Who fans and non-Whovians.

Small-time hood Leo Martin (William Hartnell), fingered by the coppers when his colleagues abandoned him after a botched smash-and-grab, swears revenge when he gets out of the joint. I must admit that I watched this British crime-meller because it starred Hartnell, the 'First Doctor' in the Dr. Who canon, but he is pretty good in a stiff way as the vengeful, amoral con (other than 'gangster honour', his character doesn't have many redeeming qualities). The story is pretty bleak, with the criminal life coming across as seedy and unpleasant rather than dangerous but slightly glamorous, as is common in many American films. Joyce Howard is a standout as Carol, a 'taxi dancer' working for 6p/dance at a sleazy nightclub, who initially befriends Leo and believes his protestations of innocence and good intentions, as are Herbert Lom as the crime boss and Alan Wheatley as his mincing, effete minion. Also worth mentioning is Ivor Barnard as a diminutive but menacing hitman. The melodrama is laid on a bit thick, especially in the first 10 minutes, and film is choppy at times, suffering from poor editing either in the initial production or afterwards when dealing with the censors (an abrupt cut from a pivotal 'torture' scene suggests the latter). The buildup to the climax is good but the ending is a bit flat. All in all, good but not great. Anyone wanting to see a pre-Who Hartnell play a hardcase would be better off watching 'Brighton Rock' (1948), in which he plays Dallow, the second-in-command to psychotic gangster 'Pinkie' Brown (David Attenborough).

The story itself is riveting enough to keep you awake all long the viewing, and the finale excellent, bitter, unforgettable. But the directing is too smooth for this kind of topic, scheme. Maybe the the late forties was not yet the best period for gangsters stories; I am sure that in the early sixties, with someone like Stanley Baker as the lead, it would have been terrific. But it remains a rare feature, very underrated in the British film noir history. The 2020's UK crime flicks are lousy for most of them. The director John Harlow was not a great one, he was not Basil Dearden nor Michael Powell or John Boulting.