Londres a medianoche

This is a very good movie with Walter Pidgeon doing an excellent job as Bulldog Drummond. Algy too is back and played to perfection by David Tomlinson. The story is filled with suspense and action. But where are Colonel Neilson, Tenny, and Phyllis Clavering, The woman Major Drummond is always about to marry but, alas, usually does not? Margaret Leighton as Sergeant Helen Smith fills in nicely for Phyllis Clavering and this somewhat compensates for Ms Clavering's absence, plus giving a new twist to the comparable role. This is a faithful rendition of the Bulldog Drummond series and highly recommended for fans and non-fans.

Bulldog Drummond, as portrayed by Walter Pidgeon here, gets a call form the police. There's a new criminal gang terrorizing London, and no one knows anything about it. Pidgeon allows himself to be caught cheating at cards, and supposedly flees the country, while the club considers whether to expel him. David Tomlinson, playing Algy Longworth, is thoroughly confused. Meanwhile, Pidgeon has gone undercover with police sergeant Margaret Leighton to infiltrate the gang, which he does with great ease.

Pidgeon spent most of his quarter-century at MGM squiring around the ladies, and playing well-mannered individuals. Here's a late entry in his leading man resume. While he maintains his genial charm throughout, the movie was a total failure at the box office, and was Pidgeon's last leading man on the silver screen. Perhaps the poor way the parts of the story fit together had something to do with it. Even so, the MGM gloss, great camerawork by Freddie Young, anda generally genial attitude by all hands makes this one watchable.

Pidgeon was a welcome presence for another quarter of a century, never had an unkind word for anyone, a great store of dirty limericks, and a perfect contentment with his lot in life. He died in 1984 at the age of 87.

Starting in 1922 and through the early 1940s, many, many different actors played Drummond--and he even reappeared a few times after that. It wasn't until John Howard finally got the role and managed to play him six times that the series had any stability. Mostly, however, it consisted of an actor taking the helm for only one or two films--and including Ronald Colman, Ray Milland and Tom Conway. In total, there were 24 appearances by 14 actors--so consistency was NOT a strength of the Drummond series!! If they had stuck with only one or two actors, the series might have gained a wider following. So, seeing the American Walter Pidgeon taking on the role isn't that surprise--everyone seemed to be playing him!

In many ways, this iteration of Drummond is different from earlier ones. The light-hearted sense of humor is missing and instead, the film seems a bit film noir in sensibilities. Part of this might be because Algy (the usual comic relief) is more of a minor character in this one. The baddies in the film also aren't afraid to shoot the police, the dialog is more tough and the lighting is, at times, very noir---and Algy brutally plugs one of the gang members at point-blank range. It certainly looked a lot more 50s in style!

This film starts with an incredibly cool and well-designed robbery. Eight guys in trench coats, fedora hats and rubber masks efficiently steal a ton of cash in very workmanlike fashion. To assist them, the carry a backpack radio (like would have been used by troops during the war) to keep in touch with the boss who guides them. They do this all so neatly, you'd assume they will never get caught.

Because three such split-second timed jobs have been executed with military efficiency, the police have decided to consult Hugh 'Bulldog' Drummond--who has been retired for some time. He agrees to go undercover and try to insinuate himself into the gang once he locates it--as Drummond always wants to do it the dangerous way! And, he's assisted by a pretty female from Scotland Yard. But can they manage to avoid detection? After all, this is a very smart gang! All in all, I really liked this style Bulldog Drummond film--a lot more than the earlier ones. Because it was much more realistic and gritty, the film seemed less like just another B-series film. It's a shame, though, that this film apparently didn't catch on and was the only one in which Pidgeon starred. My score of 8 is relative to other B-movies as well as the other Drummond films.

By the way, look for a younger Bernard Lee as the nine-fingered man. You probably will recognize his face--he was the original 'M' from the Sean Connery, George Lazenby and Roger Moore films in the James Bond series. Also, notice that Drummond and Algy refer to British football as 'soccer'. Do the Brits ever refer to this sport as soccer? I thought only silly Americans (like me) call it that. I assumed they used that term since this film was made by an American studio.

This was the 21st Bulldog Drummond film, and was the last attempt at making a serious feature film based upon the character. It brought to an end 29 years of serious Drummonding, and the remaining four Drummond films were all absurd and worthless pastiches. So this was truly the end of an era. In the two previous Drummond films, the title role had been played by the suave and charming Tom Conway. This time Drummond was played by Walter Pidgeon, his single time in the role. Pidgeon was also suave and charming, but was not a young man by this time and lacked the energy and vivacity for the part. In any case, the director Victor Savile was clearly infatuated (if only in the directorial sense) with Pidgeon's female co-star in this film, the remarkable Margaret Leighton. We get plenty of closeups of her, but none of Pidgeon. Pidgeon was evidently happy to let Margaret Leighton steal all her scenes, as it must have amused him that in her role as a woman police officer masquerading with him as a crook to infiltrate a criminal gang of thieves, she was taking over the film. Pidgeon was not an egotist. I knew him slightly when I was young and he was old. Despite his impeccable manners of a gentleman, which were perfectly genuine, he could be a bit difficult at times and did not suffer fools gladly. He had an excellent sense of humour and laughed heartily and deeply. He was a passionate drinker of strong coffee, and the twinkle in his eye was natural and innate. Despite the many decades of difference in our ages, we 'clicked', and if circumstances had permitted, we could have had long and meaningful conversations, whereas our conversations were never long, and our acquaintance was passing. However, I gained enough of a personal impression of him to judge his worth, and that was high indeed. He was an extremely interesting, thoughtful, and amusing man, and he was far from superficial. He is best seen in 'Mrs. Miniver' (1942), for which he was nominated for an Oscar, and 'Advise and Consent' (1962). In this film he is just walking through the part, and although he manages the charm part of being Bulldog Drummond, he frankly does not manage the action part, and he was clearly under no pressure to do so, as the director was rather effete anyway, and Margaret Leighton was happy to do all the business, and was enjoying herself so much they all just let her get on with it. She was a magnificent actress, although she was best on stage, where I saw her a few times, and was dazzled by her stage presence. I had no idea during the time I knew him that Larry Harvey had once been married to her, as he never mentioned her. (But then he wouldn't, as it might have upset Paulene, I suppose, who is a fiery gal, or was back then.) This Drummond film does not have a trace of humour anywhere in it, not a single laugh, gag, or witty line. It is treated absolutely straight as a crime detection film. The cinematography was by Freddie Young, later famous for 'Lawrence of Arabia', 'Doctor Zhivago', etc., though there is little sign of his genius in this early effort. I knew him too, and he was a very quietly spoken and thoughtful fellow, wholly dedicated to his work, whom everyone liked, and I don't suppose anyone ever disliked. This Drummond film makes good watching, if only to see the amazing Margaret Leighton, and it does not disappoint as a Drummond film either except that Tenny, the Inspector, and Phyllis Clavering all are missing. Algy Longworth is there, played fussily by David Tomlinson, but he is not funny, nor does he try to be. As the last 'real' Drummond film, this one has an air of dignity about it, as the true series finally bows out and leaves the screen forever. It is not commercially available on DVD or video, and you have to be ingenious to acquire a copy from the right collector, as most of the television airings (where I first saw it) have ceased. Let's hope that some day an enlightened company will bring out a DVD set of 'The Complete Bulldog Drummond', because although the first silent film appears to be lost, the second does survive in a single copy, and it would be a fascinating thing to have all these films gathered together and accessible.

This is a good, easily enjoyed undercover police story, with a bit of the "Big Heist" caper film the British practically made a national genré of. But it is not any sort of a classic, it's not what one could say was action-packed, it concentrates more on suspense.

The problem with it is mainly in its being sold to us as a Bulldog Drummond story. First, Walter Pidgeon might be a versitile actor, and he does this film with his expected competency, and if his character were named John Smith it would be just fine, but he's not right to be Bulldog Drummond. He's a bit too formal, serious, and old to play him, especially after we have seen someone like John Howard fill the role so well. What about the other characters? Algy is now a serious, and colorless, far secondary figure, Tenny isn't in it at all, nor is Mrs. Drummond.

If nothing else, it would seem they just took a cops and robbers story and decided it would sell better on the back of a well known character that had gone dormant, so, without any more consideration than that, they made a Bulldog Drummond movie.