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A two bit villain gets ideas above his station, more godson than godfather, an irritation, a vile and vicious type, although it's all gusto, teenage hype, his small mob predates the weak, provokes the fight. He's made some schoolboy errors he will regret, dug a hole and now he issues lots of threats, between a hard place and a rock, he needs to find a way to block, so he's not captured in the ever closing net. He takes advantage of the innocence of Rose, as she accepts the sham marriage that he's proposed, but Ida Arnold's on the case, she's got her sights on this scarred face, like a bloodhound on the scent, she will expose.

Very strong thriller from the Boulting brothers with a cracking performance from Dickie Attenborough as the starey-eyed Pinkie, and William Hartnell looking young(ish) and spry as his friend, henchman and conscience Dallow. Lacking some of the book's depth and darkness, but staying surprisingly faithful to many important plot points, the pace is electric and the players all excellent. The sticky squalor and roughness of the town and the time are vividly realised, and Pinkie is about as bad as they come. One of the great British thrillers, and for those familiar with the book, check out the sweet, ingenious ending.

If Richard Attenborough hadn't been careful in his choice of roles he might very well have been typecast as a stone cold killer the rest of his career. It was the same problem that Richard Widmark had after Kiss Of Death. In Brighton Rock, Attenborough is absolutely riveting and charismatic as gang leader Pinkie Brown.

In the British seaside resort town of Brighton, Attenborough and his cronies run a protection racket and are being muscled by another gang who wants to take over their territory. In America this would call for a public machine gun blasting, but in the United Kingdom they do things in a bit more subtle way. After a prolonged chase through Brighton, Attenborough nails one of the other gang members Alan Wheatley in a fun house tunnel ride where there's even question that Wheatley might have slipped and fallen on his own.

But there are questions and Hermione Baddely is raising them, having been with Wheatley before he died and knowing how scared he was. There's also a witness after the fact who could destroy his alibi, a young and very innocent waitress played by Carol Marsh.

The reason Brighton Rock works so well is the terrifying portrait of Attenborough as a killer. Attenborough has to be a charismatic figure or the older members of his group would not be looking to him as the leader. They fear him too, but eventually the fear takes over the sway he has on the group.

Carol Marsh is good in her part. She's such an innocent, a Trilby like creature who Attenborough works like a Svengali over and gets her actually to marry him, just so she can't give evidence against him in Wheatley's murder. But when a couple more deaths occur, Marsh is frightened, but still entranced with Attenborough.

The final climax on the Brighton pier is as terrifying as any noir film you might see in America at that time. It even eclipses Wheatley's demise earlier which is also a highlight. Brighton Rock holds very well after 62 years and compares very well with some of the best American noir films of the time.

I hope this film is remembered for all time as it is an incredible piece of film-making. Excellent script, suspense and a wonderful performance by Richard Attenborough as the ruthless and emotionless gang leader Pinky.

Despite Brighton being known for its family orientated beaches, entertainment and pier, we see a very dark and disturbing side to this relaxed holiday town. There is a sinister feel throughout and is shot and edited very well. It was a bit hard to understand some of the dialogue at times but this did not matter as it captivates and draws you in for the duration.

I recommend it highly.

I see that everyone has raved about this film and that it was 15th on a list of great British films. I might have enjoyed it more if I were British. Unfortunately, I'm not.

A great cast makes up "Brighton Rock," a gritty 1947 noir with a screenplay by no less than Graham Greene (from his novel) and Terence Rattigan, and some great cinematography by Harry Waxman.

Pinkie Brown (Richard Attenborough) is a penny-ante mobster who is the head of a protection racket in Brighton. When people owe him money or pose a threat to him, he kills them or slashes their face. In the case of his rival, Fred, he manages to knock him out of a boat during an amusement ride in a brilliant scene.

The police think that Fred had a heart attack but a woman named Ida (Hermoine Baddeley) who was actually outside the tunnel, who Fred latched onto in a bar, I guess thinking he wouldn't be killed, isn't convinced. Then there's the problem of the shy waitress, Rose (Carol Marsh), who never forgets a face - she served Fred in a restaurant. This wrecks Pinkie's alibi, so he marries her in case he's accused. Then she won't have to testify.

Richard Attenborough is scary as hell in this thing, kind of Peter Lorre-like. I kept picturing Dirk Bogarde in the role, though this film was released a bit before his time. Attenborough is excellent, but he's so creepy I can't imagine anyone a) not being terrified of him; and b) dating him, much less marrying him. Attenborough is not unattractive here, but if someone like Bogarde had played the role, I might have bought it at least from the female angle.

My big problem with this movie is that I absolutely could not figure out this Klown Klobber card and didn't have the wherewithal to rewind one more time to figure it out. Anyway, the Klown Klobber card is some sort of contest, and if you send it in, you get a cash reward. It all has to do with someone resembling the card.

It was planted in the restaurant where Rose works as some sort of alibi, but when Pinkie goes to recover it, he finds out Rose discovered it. Frankly I became really confused. I might have liked the film better if everyone hadn't gone on and on about it.

Maybe I watched this too late at night and wasn't concentrating.

I can only say excellent acting, wonderfully made film, gritty story, unpleasant people. And don't forget that Klown Klobber card.

The acting is excellent, and with perhaps the exception of Ida, there really isn't anyone very likable in the film.

Brighton Rock is directed by John Boulting and written by Graham Greene (also 1938 novel) and Terence Rattigan. Produced by Roy Boulting, it stars Richard Attenborough, Carol Marsh, William Hartnell, Hermione Baddeley, Harcourt Williams and Wylie Watson. Music is scored by Hans May and cinematography is by Harry Waxman. Plot finds Attenborough as small time Brighton hoodlum Pinkie Brown, whose attempts to cover up a murder sees events spiral out of control for himself and those closest to him.

1947 was a good year for tough, gritty British drama, in fact it was a key year in the progression of British cinema. It was the year that would see the release of They Made Me A Fugitive, It Always Rains On Sunday, Odd Man Out and Brighton Rock. The latter film, arguably the one that looks the most dated, is the one that shocked the most upon its release. Refreshing, then, to find that in spite of the aged edges of the narrative frame, it still today has a power, a bleakness, that justifies the classic status afforded it. Part seedy seaside noir, part character driven observation on Catholic guilt and torment, Brighton Rock overcomes some slight old time technical flaws to thrive on thematic potency and a tense narrative.

Many authors find their respective work losing impetus during the translation to the big screen, Graham Greene is one who hasn't had to suffer in that department. Key issue for those adapting his work is to understand the characterisations at work, thankfully the Boulting brothers grasp that Pinkie Brown, surely one of Greene's greatest creations, has a complexity that needs him front and centre of the brewing maelstrom. The plot then tumbles out around him, as the seedy underbelly of Brighton's everyday life is exposed. The casting of Attenborough as Pinkie was a masterstroke, fresh faced and wide eyed, Attenborough plays it as coiled spring like, his psychosis troubling and ready to explode at any given moment. His cold hearted relationship with the homely, desperate for love, Rose (Marsh), is utterly disturbing, and it's that relationship that underpins the story.

Story is set amongst two sides of Brighton, one side is sunny, full of lights, fun-fairs and candy floss, the other features grimy boarding houses, penny café's and loud back street beer houses. The neat trick the Boulting's pull is that we know the sunny side is merely a facade to darker forces, much of the badness is played out to the backdrop of seaside frivolity and relaxation. With the iconic pier serving as a dual witness to both the good and bad side of Brighton's current denizens. Aided by Waxman's oppressive photography, J Boulting paints in claustrophobic strokes, perfectly enveloping the lead protagonists in a number of restrictive set-ups, where the surroundings deftly match the mood of the individual. It's going to end bad, it has too, the atmosphere tells us that, but the makers are reveling in tightening the noose one turn at a time, and that's a sure fire bonus for film noir lovers.

Film is well cast across the board, with Hartnell most notable as Pinkie gang member, Dallow, while Baddeley as Pinkie's bold and brassy adversary, Ida Arnold, is suitably annoying. Memorable characters, one and all, each one serving to add fuel to Attenborough's malevolent fire. How great it is to also take away a number of memorable scenes from the movie. From the pulse raising chase at the beginning; to the weird and haunting brutality of a ghost train sequence, and to the cruel finale that drips with cynicism, it's a film that refuses to leave the conscious after the credits have rolled. The ending may have been toned down from that of the novel, but what remains still bites hard, as does, in truth, the whole film. 9/10

I just saw this picture courtesy of a local rental store which has a number of Btitish films otherwise not available. Wow!

Absolutely excellent in all departments. Attenborough gives a standout performance as Pinky and is surrounded by a sterling cast working at the same high level. The film is beautifully photographed in a way which gives texture to the story and reality to the characters. This must be one of the top British films of the Forties and can stand beside anything Hollywood was doing at the time (or any time for that matter.)

The script is credited to Graham Greene (based on his Novel) and, the unlikely seeming, Terence Rattigan (Separate Tables, Winslow Boy et al). Without knowing who contributed what to the final screenplay, I can say that it is a beautiful and coherent piece of work that has character development as well as terse and atmospheric dialog that keeps the viewer engrossed and the tension high.

Recommended (especially to fans of film noir)

Between the two wars in the resort town of Brighton located an hour from London, there is a history of violence. It's 1935 and a gangster named Kite is found dead. Reporter Fred Hale has written an expose on the gangs and he visits for one day to set up a game by leaving cards around town. 17 year old gang leader Pinkie Brown (Richard Attenborough) intends to confront him who is seen as the cause for Kite's death. After murdering Fred, the gang works to create an alibi by continuing the game.

The accent is a little tough but mostly I didn't understand the premise until after doing some reading. I didn't get the cards at first. I also expected a more brutal killing. That brings me to the face slashing. It's not that brutal and the closeup filming of punches to the faces feel stylish artificiality. Again, I'm expecting a more real fight. All in all, it's great to see a Graham Greene movie and it's fascinating to see a young Attenborough. The most brutal scene may be his recording in the booth.

A sublime performance by Richard Attenborough as Pinkie Brown is the cherry on the cake in this fantastic adaptation of Graham Green's novel. Attenborough's chilling performance is in my opinion his best ever. Hermione Baddeley plays Ida Arnold exceptionally but sadly does not receive the recognition she deserves as she is out shone by Attenborough. The film is a disturbing insight into the Brighton's gangs that nobody wants to talk about. The film has that subtle edge that only black and white movies can and there is a classic twist at the end. This is a must for anybody who loves black and white movies and will have you on the edge of your seat. If you haven't seen this movie then make a point to do so you won't be disappointed.

As a film, Brighton Rock can be defined as a good character study of different people who find themselves directly or indirectly involved in a crime involving Brighton's gangsters. The film is able to strike a fine balance between childish entertainment and taut thriller. There are good performances by all actors but famous British director Richard Attenborough is able to carve a separate identity for himself for his chilling portrayal as a young hoodlum with blood on his hands. For most English tourists Brighton is a small town in England which is famous for its seaside resort. Its popularity soared immensely when famous British writer Graham Greene wrote a novel about its vicious criminal gangs who firmly held on to their Christian beliefs. It was in 1947 that director John Boulting's film "Brighton Rock" was released for general public. The film was an immediate success with both critics as well as viewers as it remained as close as possible to the original book. For this purpose Graham Greene collaborated with famous British dramatist Terence Rattigan. In recent times,a remake has been made which presents a new version of the story with additional colors.

A 1948 film noir from Blighty starring Richard Attenborough. Taking place in the seaside town of Brighton we descend upon a gang of toughs led by Attenborough who run their own piece of turf. When a newspaper employee comes to town to hand out cards for a contest, he becomes the eye of Attenborough's storm since his paper wrote an expose of the gang's activities which prompts his removal (during an extended chase through the boardwalk) but not before he befriends a local hanger on, played by Hermione Baddeley, who files away the encounter for later recall. Attenborough then goes on an all out rampage to make sure his hands & people (which includes future Dr. Who, William Hartnell) were free of blame of the killing. Of course the more he presses, the more entrenched does the gang get involved especially when Attenborough tries to erase the card trail at a café where he meets a shy & impressionable waitress, played by Carol Marsh, which puts him in an uncomfortable position so he decides to romance her so if he slips up criminally in front of her, she can't say anything since at some future point, they may be married. Diminutive in stature but making up for it as a sociopath, Attenborough throws his weight around till his own men decide to sic the cops on him (after Attenborough kills one of his own in a building). Attenborough is literally a force of nature as his sniveling presence is enough to cower his underlings while also being able to cajole the affections of a naïve waif (wait for this twisted ending!) to his will. Based on a Grahame Greene throwaway (the author's own estimation of his lesser work) & which also produced a 2010 remake (which I haven't seen), this film lives up to the maxim of most successful noirs where the anti-hero goes down for his own obsessions.

During the inter-war years the Sussex resort of Brighton became notorious for the activities of criminal gangs, and this side of Brighton life was dramatised in Graham Greene's 1938 novel, Brighton Rock. (The title refers to a type of confectionery traditionally sold in British seaside resorts). The book was made into a film in 1947 by which time, according to the introductory captions, gangsterism had entirely ceased and the town was once again a tranquil, law-abiding community. In actual fact this was far from true- wartime black marketeering had, if anything, given a boost to criminal activity, both in Brighton and elsewhere- but this disclaimer, however fictitious, was necessary of the film-makers were to secure the support of the town's Corporation for location filming.

The main character is Pinkie Brown, the youthful leader of a gang of thugs whose principal activity is protection racketeering. Early in the film, Pinkie murders Fred Hale, a journalist who has been investigating his gang's activities, by pushing him off the town's Palace Pier. Although the police regard the death as an accident, Pinkie tries to cover his tracks by creating a false alibi for himself, which leads to the commission of further crimes and to Pinkie's marriage to Rose, a young waitress who he believes might be in possession of evidence which could send him to the gallows. Pinkie is not in love with Rose, but marries her because at the time the film was made there was a rule of English law that a wife could not give evidence against her husband.

Greene himself wrote the screenplay for the film adaptation, together with Terence Rattigan, but he changed the ending, which is perhaps not the most successful part of the original novel. He kept the novel's concern with Roman Catholicism, but changed its emphasis. In the book Pinkie is a convinced Catholic believer who somehow manages to reconcile his religious faith with his criminal lifestyle. In the film he never mentions religion until he catches sight of a rosary in Rose's handbag, the implication being that he is only pretending to be a fellow-Catholic in order to impress her. The film places a much greater emphasis on Rose's spiritual development, including a final twist which is not in the novel but which nevertheless makes for a more satisfying ending.

The film is not flawless, and there are a couple of plot-holes. Would a national newspaper really have used one of their leading investigative reporters as their seaside "mystery man", even sending him to a town where his journalism had made him enemies? Would an innocent young girl like Rose really have fallen for someone as charmless as Pinkie, who makes little attempt to hide his contempt for her? (A girl with the looks of Carol Marsh would hardly lack for male admirers). And yet this is one of the greatest British crime films of the period, perhaps of all time.

Although "Brighton Rock" was made in black-and-white, it was not, unlike some British crime films from the period, made in direct imitation of the dark, moody American film noir style. There is a clear distinction between the public and private realms. Those scenes set outdoors, or in public places, are light and cheerful, reflecting the atmosphere of a warm summer's day by the seaside. (The film is set in early June, perhaps at Whitsun which was still an official Bank Holiday in the thirties). By contrast, Pinkie and his gang live in a drab, seedy lodging house of the type familiar from many British "kitchen sink" dramas. Crime has clearly not paid for the gang; it is notable that one of the victims of their protection rackets lives in more style than they do.

The acting in the film is of a uniformly high standard. There are good contributions from the likes of Carol Marsh and Harcourt Williams as the corrupt lawyer Prewitt, but the two which really stand out are from Hermione Baddeley as Ida Arnold and Richard Attenborough as Pinkie. Ida, the one person who believes that Fred's death was suspicious, is at first sight not a particularly attractive character. She is an ageing showgirl, loud, coarse and brassy. She does, however, have a strong sense of right and wrong, and is determined to secure justice for Fred, who was neither her lover nor a close friend, merely a casual acquaintance. It is her investigations which eventually persuade the police to take action. ("Brighton Rock" takes an unusually critical view of the police, who are portrayed as too complacent; other British films of the period, notably "The Blue Lamp", show them in a much more idealised light).

Attenborough's Pinkie is one of the greatest representations of pure evil in the history of the cinema. Young in years, but old in sin, his smooth, boyish face never betrays any emotion but hatred, resentment and self-pity. He has no feelings for anyone but himself, not for Rose, whom he despises, nor for his fellow gang members, one of whom he murders for alleged cowardice. Like Macbeth, he discovers that his first murder can never be the "be-all and the end-all", and is forced, in desperation, to commit further crimes as his attempts to cover his tracks misfire and his criminal empire starts to crumble.

This is a short film, but one packed with action, and director John Boulting paces it superbly to create both a sense of mounting tension and a sense of an inevitable nemesis hanging over its vicious anti-hero. The cinema rarely comes closer to pure tragedy than this. In my view this is perhaps the greatest ever British gangster film, greater even than "Get Carter", which is high praise indeed. 9/10

Brighton Rock (1948) : Brief Review -

One of the best anti-climaxes I have seen in any gangster noir. I believe I have left you excited with the headline because if someone is discussing the climax and how good it is, it certainly creates a specific kind of anticipation. Brighton Rock is, otherwise, a good film as well. It features a gripping narrative centered around one gangster. Pinkie is a young psychopath who kills a journalist for writing against one of his gang members (who is found dead). After that, he meticulously plans everything to keep himself safe from the cops. Ida is an entertainer in the showbiz world and was fond of the journalist, so she decides to bring justice for the deceased. Pinkie starts dating a young waitress, Rose, who has evidence against him, and she soon falls in love with him despite knowing that he has done something wrong (not the exact crime). The rest of the narrative follows his struggle to stay safe and Ida's investigation to capture Pinkie. Who will win in the end? I won't reveal that, but I'd like to share one other detail-specifically, a scene-that is related to the headline of this review. In one scene, Rose requests Pinkie to record his voice so that she can hear it on the gramophone. He records that he hates her, and later, Rose finds that record and plays it, mistakenly thinking that Pinkie loved her. The record plays... But wait, there is a twist to it, as the camera moves to a statue of Jesus Christ, since both Rose and Pinkie were Catholic. I assure you, that's one of the finest anti-climaxes I have ever seen in any crime noir. Richard Attenborough didn't look 17 at all, but his performance was impressive. Hermione Baddeley did a really nice job, and Carol Marsh was superb as the young innocent girl. The screenplay keeps things shipshape, and John Boulting's direction was excellent. Overall, a superb film anyway, but the climax makes it even better.

RATING - 7.5/10*

By - #samthebestest.

Now this is a real find: sandwiched in between a studio-enforced happy ending and a lawyer-appeasing opening text that claims "Brighton isn't like this any more" we have one of the finest British films.

In 1999 the British Film Institute voted for what they regarded to be the 100 greatest British movies ever made. Brighton Rock came in at 15th position, a short way ahead of perhaps more realistic gangster offerings such as Get Carter! and The Long Good Friday. It's deserved, though obviously the film's major complaint with a modern audience would be the stilted speech patterns that are now too quaint for a modern context (a time when men still called women "ducks" and "Bogeys" were policemen); and the "harsh violence" is now tame and ripe for parody.

Amazing that Richard Attenborough, he of ever-changing accent in Jurassic Park, is here cast as a viscous gang leader. Stranger still is the sight of William Hartnell as a tough-talking Cockney, exclaiming "stick yer mincers on that". Much later in his life Hartnell was to suffer a nervous breakdown, leaving him with a poor memory and occasional stammer. This produces ill-advised amusement as his most famous role – that of the first lead in television's Doctor Who – was performed with regular fluffs and stammers. Here, however, sixteen years before he was to take on that part; we are treated to just what a striking and charismatic actor Hartnell could be. While the violent aspects can look dated in context, seeing cuddly Bill Hartnell spitting in a man's home after Attenborough has just slashed the man's face with a razor blade is still disconcerting.

Attenborough is "Pinkie", caught between the police and a larger rival gang who have taken over the Brighton protection racket. After a waitress, Judy, gets too close to his false alibis, he marries her to assure her silence. Though the girl is played with believable insecurity, it's unlikely that anyone could really fall in love with someone as openly spiteful as Pinkie. The notion of charming a girl is completely alien to him, and he begins their first date by implying he'd slash her face. His character is drawn up by having him believe in Hell (though not necessarily in Heaven) and showing a predilection for cat's cradles. Though these displays could overstate his "evil" credentials, in Richard's performance and John Boulting's direction it is a coldly accurate portrayal.

If there's one grain of sympathy for Pinkie, it is that of an underdog. His "territory" eaten up by the much larger Colleoni gang, he's effectively forced out of Brighton with nowhere to go. Photography is excellent, the black and white adding style to what could have easily been a flatter, run-of-the-mill crime yarn. I especially liked the shots of Brighton town and scenes on the ghost train. Best of all is the scene where everyone's laughing at Pinkie's expense, including, it seems, a china doll. There's a real sense of the classic to this one, each shot set up with some precision, a directoral style that Variety blasted at the time of release, claiming it to be "too leisurely for this type of picture". Personally I think it adds a real sense of style, or maybe it's just the long shadows that add a touch of noir. Interestingly, the somewhat obscure title refers not to a romantically-sounding desolate landmark but to the seaside sweet. Concern artist Ida (Hermione Baddeley) claims that no matter how far you bite down into her, she'd have Brighton "written through her all the way". Understandably, this esoteric – if powerful – title was changed in America to a more comprehensible "Young Scarface".

Richard Attenborough and William Hartnell are both at the top of their game with this edgy and gritty adaptation of Graham Greene's novel of small-time, seaside, thuggery. The former is "Pinkie", the leader of a group of glorified ruffians who finds himself being chased by the police and just about everyone else following his revenge killing of a journalist whom he thought topped one of his gang. Hartnell is formidable as his nemesis "'Dallow" and this also features a career-defining performance from Hermione Baddeley ("Ida") who has also determined to get to the truth about the murder. John Boulting uses tight photography, the Brighton scenario, the darkness of alleys, the pier, the sea and the skill of Attenborough in portraying this cowardly bully of a man to good effect and creates one of the best British crime dramas that, though set before it, still exudes some of the ghastliness of WWII and of those odious little men who tried to capitalise on the misfortune of others. A solid supporting cast and some well focussed dialogue building on the original story make for quite a compelling cinema experience and it's aged well.

Stunning film from England starring Richard Attenborough as small time crime boss Pinky Brown. I never knew he had it in him to play a role like this one. The rivalry between Pinky's gang and the bigger and more efficient one run by Colletti provides somewhat of a background story with a great scene at a racetrack where Colletti's boys are waving around straight razors, but the real story is Pinky's murder of one of his own guys on a beach front amusement park ride, the cover-up, how he tries to deal with Hermione Baddely and a sweet young waitress, and his dealings with the guys in his own gang, which are all done with incredible precision. How Pinky got so mean is an interesting question to ponder. So the character is evil but with intriguing depth, a tribute to writer Graham Greene who apparently thought him up, and the characterization by Attenborough is, IMHO, unequaled.

Fairly gritty for a 1948 film, and note natural acting than most of that era.

Attenborough is pretty good as a mentally wrecked young gangster, as well as his "gang".

Hermione Baddeley is just awful as Ida, the would-be sleuth. The over the top laughing was preposterous and took away from the movie.

A gangster movie set in Brighton between the wars. A reporter coming to town gets targeted by a gang. Murder, mystery and romance follow. The bad audio combined with the southern accents even with me as an Englishman had to concentrate while watching to understand. The story moves slow as the gangsters try to cover their tracks, the problem is I never really understood what set off the chain of events in the first place. Good performance by Richard Attenborough but his relationships with the gang and the victims needed to be explored more.