Asesino

I am not a specialist of British films from the thirties and forties, but this one, which I discovered at the French Cinémathèque in 1988, amazed me so much. It is a drama, truly tragic thriller drama starring a terrific Ralph Richardson, grabs you, holds you from the beginning till the end. I have always thought that Ralph Richardson had the same face as Michel Serrault, the French actor, who would also had been excellent in this kind of character. The scheme looks like a James Hadley Chase's novel with a lead desperate character who looks like you and me, and who slowly but surely becomes a murderer, because of his mone issues and a blackmailer. A greedy blackmailer. The tooic where audiences can't prevent to become full of empathy for the mai character, no matter what he does to survive. Outstanding British crime flick. By the way, speaking of British masterpieces fromt he forties, what a gem THE WICKED LADY, the Leslie Arliss's film, starring Margaret Lockwood in a kind of Gene Tierney in LEAVE HER TO HEAVEN.

A film well worth watching similar in some ways to Odd Man Out about a man on the run and the working class life of a British city but without Carol Reed's cinematic flair. The acting was impressive, especially by Sir Ralph ,Diana Wynyard and Henry Oscar. And by the way the film was made for 1939 audiences not those in 2020.

In 1930s Newcastle, if you worked in a bank, you could leave money unattended in an empty room and leave the window open. This was especially a good thing to do in a poor working-class area near the docks. We seem to have developed our ideas since then. Anyway, for this film, barber Ralph Richardson (Will) comes across this scenario and decides to go for it and pinch the money just sitting there inviting his attention. Well, he is now £100.00 richer. Nice one.

However, what is he going to do with his new wealth? Oh no, his wife Diana Wynyard (Kit) has got herself into debt by owing the local tailor Henry Oscar (Pillinger) for outfits so she can keep up appearances. She is being pressured for payment of debts and this is where the bulk of Richardson's wealth is absorbed. Typical - just when he was planning a happy life for his family, a woman has ruined it!

Thanks to a money laundering trail, the police put a watch on Oscar's movements which leads to bribery and murder.

The film is a character study of how things can go terribly wrong so easily for what is essentially a good man - Ralph Richardson. This is about his descent. The film has a good setting and story although it does occasionally drag in the 2nd half. It also contains a terribly over-the-top performance of a screaming woman that looks like Miriam Margolyes. Definitely a relative. We also get a young barber's apprentice who features quite prominently in the story and doesn't even get a mention in the credits. How unfair is that! He also has a strong cockney accent and taken with the other accents in the film, you would assume that this is set in London. Nope. It's Newcastle. Obviously before the Geordie accent was invented for the purposes of Reality TV shows.

If the only movie he had directed had been 1951's 'A Christmas Carol', Brian Desmond Hurst would have been a great director. Imagine my happiness to watch this movie and discover another great movie from the man.

Ralph Richardson is a barber in a poor street in an unnamed port city; wife Diana Wynard has just given birth to a daughter and money is tight. One evening, Richardson is walking through the street. He passes by a bank and spots a pile of cash. He hops through the window, grabs it, hops back out and goes home -- to a life that involves blackmail, murder, riot and suicide.

It's about two whiskers from straight film noir. Small man seeking a place in a decent society? Check. German Expressionist cinematographer? Check (it's Gunther Krampf, whose work on NOSFERATU was uncredited). Echoes of French Poetic Realism and doom? Check. It misses on a couple of points, like the presence of actual criminal masterminds, but it delivers on almost everything else.

Ralph Richardson is superb -- as he is in every role I've seen him in. For those who like to play spot-the-star, Glynis Johns has a role with two lines in her second year in the movies; she does has a credit at the bottom of the cast list.

This film is brilliantly directed by the largely forgotten Irish director, Brian Desmond Hurst, and brilliantly performed by its entire cast. But it is largely a 'downer', with its plot of the unremitting grinding of the wheels of Fate. It was filmed in 1939 and released in the spring of 1940. With entry into war, the British public no longer wanted tragedies but 'feel-good films', and they must have tried to forget this film, which was too much like reality to be comfortable. This film is really more like the post-War 'noir' films of America, where doom awaits. It must have been the last of the gritty 1930s British film dramas before the ultimate grit of the Blitz hit in 1940. The film is fascinating in many respects. It shows in intimate detail the life of a working-class urban community in Britain, in those last pre-War moments before most such communities were wiped out forever by German bombs. There are many wonderful location shots of the docks and streets of such areas, later reduced to rubble. For much of the film, I struggled to figure out which part of old London near the docks this could be, and thought I recognised a street near the wharves of old Lambeth (near the reconstructed Globe Theatre) which was only finally demolished about 20 years ago. But towards the end of the film, we are shown a shot of the unmistakable railway bridge hurting northwards across the river into Newcastle-upon-Tyne, and I realized this film must have been meant to take place at Newcastle. But no one in the film has 'Geordie' accents (the unmistakable accent of Newcastle folk). They all speak like Londoners except for Sara Allgood, who does her best to suppress her Irish lilt (she was a famous actress from the old Abbey Theatre in Dublin whom Hurst had directed in his earlier films 'Irish Hearts' of 1934 and 'Riders to the Sea' of 1935.) The young Glynis Johns, aged 17 and already in her fifth film, appears as a fey maid in this film. But the central performances are those of Ralph Richardson and Diana Wynyard, as a couple faced with a terrible dilemma. Wynyard is often of the verge of screaming hysteria in this desperate tale, but her stiff upper lip triumphs. Richardson was perfect for these parts as an introspective and worried husband, and was what you might call 'a steady presence on screen'. His great ability was to stand with the camera on his face and suddenly, as we watch, achieve 'realization' of something, with a nervous narrowing and slight twitching of his eyes. Henry Oscar is marvellously creepy as a miser who sits counting his money alone in his shop at hight, while listening to records of Bach's Brandenburg Concertos. (The director makes good use of this, and a special shot featuring the gramophone, which is very effective, was later much copied by other directors.) This is an almost unbearably intense tragedy, thoroughly convincing, but it won't cheer you up, so be strong.