Serena

"Serena" is one of those films that, after I've watched it, I reflect back on the plot, wonder how convincing it all was, and debate whether to watch the film again to check! Certainly I had to think back about some of the scenes, but my eventual judgement was that it was all reasonably coherent.

Unusually (as a fan of postwar B films shot in and around London), I failed to recognise many of the supporting cast, with the exception of Peter Glaze as the station clerk at Victoria. (He went on to co-host "Crackerjack", a popular TV programme of my childhood.)

Honor Blackman's star potential was very evident, and Patrick Holt made a reasonable police inspector. The acting of several others was poor - in particular I was surprised to see that John Horsley, as the family solicitor, was an established actor, so amateurish were his reactions when he was being questioned. The trailing of Ann Rogers after she'd left the church looked very clumsy.

I was a little surprised to see that the film lasted only an hour - it seemed longer. Overall, it was very acceptable.

We open with a woman walking up the stairs, turning to find a person standing in the doorway and - boom! The police arrive at the rural cottage and we discover that she was the wealthy wife of struggling painter "Howard" (Emyr Jones). Was everything in their marriage happy? Well it falls to "Insp. Gregory" (Patrick Holt) to get to the bottom fo things - a task made more complicated when one of the artist's models goes missing and that's before we get quite a twist to throw the plates in the air and leave us with a rather jumbled and overly contrived mystery. The remainder of the hour seems designed to showcase the acting talents of Honor Blackman rather than deliver a plausible mystery and by the end I'd rather lost interest. It's a low budget affair which doesn't help, but Peter Maxwell's rather staccato and lacklustre direction makes heavy weather of this, sorry.

I am very respectful of the Butcher Studios. They put out many programmers of sufficient quality to make you forget the main feature. SERENA is no masterpiece, but it is very competently directed by Peter Maxwell, who extracts quality performances from the entire ensemble, the stunningly beautiful Honor Blackman above all.

Director Maxwell very cleverly opens the film with the murder of Mrs Rogers, doing it in such a way that it becomes clear that the spectator will only get the data that he, Maxwell, is willing to release. The murder shows neither the face of the deceased nor that of the killer, and the door into Mrs Rogers' apartment is opened by the murderer's hand. One important clue: the murderer goes right in, without using any key to get in and find its mark, suggesting someone familiar enough with the abode to know its layout.

Holt makes a very classy, clued up and insistent police inspector. He never says more than he needs, cleverly and tirelessly reading all the signs until he plays the decisive identifying card that beats the criminal(s).

Excellent cinematography by Steven Dade, crisp editing by Morrison, and pleasant music by Johnny Gregory only enhance the quality of Maxwell's direction and of the Hearne and Abraham screenplay.

Of course SERENA forces you to suspend your disbelief here and there, and you can spot holes in the plot, but it is intelligently done with a shoestring budget and within a highly economical 59 minutes.

You will not waste your time if you watch it.

Serena is a fun and intriguing little British film that exceeded my rather low expectations. Patrick Holt and Honor Black are amongst this solid cast all of which provide capable performances throughout. The story is interesting and does offer us a surprising plot twist toward the end of the film that I did not seeing coming. The look and sound of the film a good and creates a distinct vibe and feel that is appreciated. The direction is brisk yet steady in propelling the action ever forward. At a running time of just 60 minutes, Serena manages to pack in quite a bit to make this film one worth watching.

A low budget b-movie from Britain's poverty row specialists - Butcher's Films. Patrick Holt (a former leading man in British films of the 1940's), plays Inspector Gregory of Scotland Yard who investigates the murder of an artist's wife and the disappearance of his model which coincided with the murder. Serena is very good for the type of picture it is , without a doubt. While the story is your routine murder mystery, director Peter Maxwell directs at a good pace and the b/w photography of Stephen Dade is very newsreel like and invests the proceedings with a nice feel for 1960's London . George Provis's art direction is also noteworthy. For instance, in a nod to film noir, we only ever see Serena throughout Holt's investigation in a painting by the artist. This nice touch reminded me in a sort of way of Otto Preminger's classic film, Laura, and it adds to the mystery and intrigue of the story line. All in all its a cut above the usual quality one normally expects of these things. The cast features Honor Blackman who at that time was a star on television as Cathy Gale in The Avengers espionage series. This film used turn up late at night on ITV back in the 1990's along with other b-movies like this, which vary in quality from above average to absolutely abysmal. It has since enjoyed a DVD release paired with director Maxwell's other Butcher's second feature Impact.

An artist's wife is shot dead at her country cottage and Inspector Gregory (Patrick Holt) is called in to investigate. The artist, Howard Rogers (Emrys Jones), goes to identify the body, but it turns out not to be his wife. So who was she? His wife Anne (Honor Blackman) shows up at his flat and she reveals that her close friend, a struggling actress called Claire Matthews, had been lodging with her at the cottage. In addition, Anne reveals that she was being followed by a woman with long dark hair - a private inquiry agent looking for divorce evidence or somebody more sinister? - and, in order to lose her, she paid Claire to dress in her clothes and walk into town while she quietly slipped away. It looks as though the murderer shot her mistaking her for Anne. Gregory's chief suspect is Rogers' model, Serena Vaughn, who matches the description of Anne's stalker, but she has vanished. Miss Vaughn was in love with Rogers, but despite being separated from Anne for the past few years he was on the verge of making up with his wife. Did Serena kill Claire and when she realises that she shot the wrong woman will she make another attempt on Anne's life in a bid to get the man she loves? Or is Gregory dealing with an elaborate smokescreen designed to divert attention away from another murderer?