Los buenos mueren jóvenes

Four men are in a car. They are all from different walks of life and a short time ago none of them were nothing more than drinking buddies – now they are on their way somewhere with a box full of guns. A washed up boxer, a man trying to win his wife back from a controlling mother, an RAF officer with a cheating wife and a "gentleman" with no means of his own. Only a few weeks ago, "gentleman" Miles finds himself out of luck with his women and his money pit in-laws and, needing money so, when he meets the other three men, he sees a chance to take advance of their various needs.

For a while back in the fifties, British cinema seemed to have enough grit and clout to it to almost be able to compete with the American market in regards crime thrillers (if not quite noirs); The Good Die Young is one of those that has a good try and is a pretty enjoyable piece even if it lacks the grit and tension of similar American products. The film opens with an intriguing set up but then jumps back to establish the story and characters and it is here where it becomes weak. The back stories are rather melodramatic and it doesn't fit well with what was meant to be a bit tougher and gripping; they are interesting enough to do the job but I must admit to feeling that they were a bit dragged out and unnecessarily long. However, if you make it through this main body of the film you'll get to an ending that is just what the film should have been throughout. I won't spoil it but it is enjoyably brutal, downbeat and gripping – "about time" was my thought when I realised that the film had gotten going.

The cast do their best with the melodrama but the material isn't there for them and they are mixed. Harvey and Baker stand out with strong performances; Basehart is good but Ireland feels like he is just making up the numbers. Naturally Collins stands out today, and she is quite good but the melodrama is made better by Grahame, Ray and, to a lesser extent, Leighton. Of course the men are all much better in the proper crime side of the film and this is partly due to better and more atmospheric direction from writer/director Gilbert, who also injects the pace when it is required.

Overall this is an average film mainly because the back story takes up far too much of the film, is too melodramatic and doesn't sit well with the tough tension promised in the first scene and delivered at the end. With the main trunk being rather plodding, the ending does feel a lot better mainly because you're grateful that the film has gotten going. Could have been great but is merely reasonably good; worth seeing for genre and period fans but will not impress a wider audience.

What a cast! Basehart, Harvey, Baker, and Ireland turn out stunning performances in this British film noir entry. The story is of three decent men, on hard times that are enticed to robbery by the one bad seed amongst them (Harvey). Also interesting to view Joan Collins in an early role, man she was REALLY hot when she was young. The tale is told in flashback, and younger viewers, more inclined to slash and bang, might find it a bit slow, but the ending is both subtle and surprising. A good one.

What a sizzling lead performance in this superb British noir film by Larry Harvey! And what a terrible irony in the title, since Larry died at the age of only 45 in 1973. I remember him so well on the day walking in Hampstead with his little daughter Domino that he told me he was dying of stomach cancer. I asked him if he were certain, if there were not something 'they could do', but he merely looked at me with his ironical smile, a resigned one, and said no, he was dying. His nonchalance did not desert him. He shrugged it off sadly but with his ingrained insouciance. His reaction to his own imminent demise had no self-pity in it, but was full of pathos, as he regretted that he would not be able to watch Domino grow up. Alas, she too has now gone. He also worried about what would happen to Paulene, who is still as glamorous as she was then. But how sadly some meet their ends. Gloria Grahame, who also sizzles in this film, only lived to 58, and Stanley Baker only made it to 48. So yes, the good die young. But Joan Collins, ostensibly only 21 at the time (but already in her ninth feature film role!), is still with us and currently working on her 119th film! This film, brilliantly directed by Lewis Gilbert (and I noted that Jack Clayton, himself later to be such a brilliant director, is credited here as Associate Producer), is a terrific psychological study of how a group of desperate men can come together to commit a crime which they would otherwise never commit. Their individual stories are all fully sketched by a cast of wonderful pros. The four men are Richard Baseheart, John Ireland, and Stanley Baker, led by the mischievous, amoral, and as it turns out, probably psychotic, Larry Harvey, as the character known as 'Rave'. The devilish, pathological scheming of 'Rave' is brilliantly shown, and in the scenes towards the end of the film, Larry is positively terrifying. Robert Morley has a brief look-in which he slightly overdoes, but then he always had a propensity to overact, especially with the excessive widening of his eyes at crucial moments. Gloria Grahame does a wonderful job of playing a lascivious, 'gorgeous pouting', totally amoral movie starlet married to the long-suffering John Ireland. Ireland doesn't know whether he wants to kiss or to strangle her, as she is so exasperating but also so irresistible. And it was not only Ireland who found her so, but a large part of the Western world. Gloria Grahame certainly had 'that something', and more besides. The most polished performance in the film is probably that by Margaret Leighton, who later married Larry in 1957 (they divorced four years later). In the film she anticipates later true events by playing Larry's older wife. She is so insouciant and acts with such effortless ease that it is like watching olive oil coat the lens. In between Margaret Leighton's arched eyebrows there lurked a great deal of intelligence, a fine sense of humour, and an appreciation of irony. The stories behind the individual characters in this film are harrowing, and Joan Collins as an emotional prisoner of her harridan mother is particularly typical of the time. In those days, girls really did feel unable to leave their mothers and were easily emotionally blackmailed by them, whereas today the young are so indifferent to lasting attachments that a parent is merely another avatar in a video game, to be tossed aside when convenient. The central character remains the spoilt, narcissistic, pleasure-loving and wholly irresponsible 'Rave', who suffers from that condition known to psychologists as 'infantile omnipotence', and who reacts to the word 'No!' with a violent tantrum. The botched burglary and its aftermath is painful to watch, but I dare not say whether any of the vexed situations which drove the participants into it are resolved, for that would give away too much. Certainly, this is one of the finer British efforts in this genre during the 1950s.

The Good Die Young is not an evocative but generic title like The Damned Don't Cry but as quite a literal summation of the story, if an incomplete one, for the bad die young, too. This English crime drama is more kitchen-sink than country manor, and a strong showing of Yanks in the cast helps cut into the order and reserve that often keeps such British efforts plucky but tepid. What results is an involving, many-layered movie, if a decidedly downbeat one.

Four unhappy plot lines converge into one very unhappy ending: Prizefighter Stanley Baker boxes with a broken hand that ends up gangrenous and amputated. Since his wife (Rene Ray) has given their meager life savings to her wastrel brother, he doesn't know where his next farthing is coming from.

Richard Basehart quits his job in New York to return to London and fetch his English wife (Joan Collins), who is being held hostage by her manipulative, malingering old monster of a mother (Freda Jackson).

G.I. John Ireland, on 48-hour furlough, goes AWOL when he can't find a minute to spend with his self-absorbed starlet wife Gloria Grahame, making time with the hot young star on her picture (Lee Patterson).

Lawrence Harvey, a sadistic sweet-talker, gambles and carouses on the money of his rich wife (Margaret Leighton), who's fast getting fed up with his feckless ways; he dines out on being a decorated war hero, but the father who disowns him (Robert Morley) believes he exterminated a nest of Germans who were unarmed and unconscious.

During a chance meeting in a pub, Harvey, desperate to make good on a bad check he wrote, wheedles the at-first-reluctant others into a scheme for robbing a postal truck of recycled Bank of England currency. He claims to be doing it only to help them out of their jams, but his sole interest lies in helping himself....

Lewis Gilbert (later to direct Alfie and three installments of the 007 franchise) opens just as the robbery is about to take place. Then he quickly flashes back to tell how the four perpetrators got there. He intercuts their stories (rather deftly), returning to the scene of the crime and its grisly aftermath only at the end. So the strength of the movie lies in its individual vignettes and the actors who bring them to life. These are variable.

Top-billed Harvey overplays his hand as the scheming psycho, as does Grahame as the round-heeled twitch. Ireland and Basehart cope well with loosely textured roles. The breakthrough performance is Baker's, who brings to mind all those deluded pugilists in American ropes-and-canvas epics, dying for illusory glory. The wives are mostly afterthoughts, though Ray and Leighton bring some poignancy to their plights. Morley and Jackson deserve mention for the incisiveness of their peripheral roles. More a drama of converging fates than a film noir (even a Britnoir), The Good Die Young holds attention owing to its large and seasoned cast and its slow but determined pace.

A well crafted heist thriller of the old school with the message of crime doesn't pay about a quartet of ne'er-do-wells who's stories are told in flashbacks then culminates in the daring crime which in turns leads to divisions amongst them.The leader is Miles(Rave)Ravenscourt(Laurence Harvey)who's at his gleefully sneering best with a host of well known faces(Baker,Basehart&John Ireland,there's also a young Joan Collins as Basehart's wife along with Gloria Grahame who's wonderful as a spoilt married woman to one of the gang.Full of action towards the end especially the underground scenes,the cast includes Margaret Leighton who was Harvey's real life wife.