Smokescreen

SMOKESCREEN is a rather endearing little British thriller with a strong comic flavour to allow it to stand out from the rest. Although it has the same low budget, ensemble cast feel as many other films from Butcher's Film Studios, it's the comic angle - which centres around the central character's miserliness - which makes it special.

The storyline is rather familiar, but the Brighton locations give it an edge. The dependable Peter Vaughan plays an insurance investigator who investigates the death of a man who died when his burning car went over the cliffs. To this end, he's teamed up with a youthful John Carson (PLAGUE OF THE ZOMBIES) as his assistant and must get to grips with the dead man's wife, played by the glamorous Yvonne Romain (CURSE OF THE WEREWOLF). Meanwhile, familiar faces from British movies like Gerald Flood and Sam Kydd regularly appear.

SMOKESCREEN comes across as a rather genteel whodunit, playing out like a simple murder mystery with a big 'reveal' at the climax. All aspects of the film are ordinary apart from the comic streak, which is very well handled and genuinely funny. It's this comedy that makes SMOKESCREEN worth watching.

Peter Vaughan, a wonderful actor, is the rather slimy insurance investigator investigating a claim in coastal Sussex.

And this unlikely hero succeeds where the Police have failed!

Made on a tiny budget, this film proves that enormous budgets are not always necessary to make good cinema.

Truly a minimalist marvel.

The biggest shame about Jim O'Connelly's quirky low-budget British post-noir SMOKESCREEN is that it was a film instead of a television series since Peter Vaughan's perpetually cautious and stingy insurance adjuster Roper had so many more adventures in him....

His particular case involves what the audience and a young couple witness from the very beginning: a burning car driving off a cliff, and we never see a driver, which is what Roper searches for throughout the hour-long programmer, going from one person to the next in the usual investigative fashion...

What makes SMOKESCREEN so fun and involving are not only the oddballs he comes across, but how Vaughan's own eccentric character reacts to each, especially an equally chintzy doctor and bribing railroad worker...

And then the supposed dead man's wife played by CURSE OF THE WEREWOLF ingenue Yvonne Romain, who Roper's handsome sidekick (John Carson) is smitten with... You'll be glad they keep having to return to her.

Vaughan would later play big, strong, intimidating monsters of men, like in Sam Peckinpah's STRAW DOGS as the leader of a gang of low-rent Brits bullying Dustin Hoffman, and even an actual ogre in TIME BANDITS, which is why it's fun seeing him jauntily making his way through East Essex with an umbrella and the countenance of an awkward, uptight accountant who never threw a punch...

Which is an important Noir-gumshoe element since anything can derive from the woodwork, and a great cinematic investigator is usually the most vulnerable to unseen/unknown elements: only there aren't any deadly thugs lurking through darkened alleys... And yet the eclectic day-lit obstacles can be equally complicated, and just as intriguing, along with a grand sense of the traditional Whodunit.

Vaughan's Roper, much like Peter Falk as COLUMBO the following decade, has a way of coaxing information that only a cerebral manipulator can muster... and can you imagine if COLUMBO had only one movie instead of an entire series? Well in this case, we have to.

Made on a zero budget as a programme filler in the mid-Sixties. Don't let this put you off. Worth watching for the quirky, amusing script and the central performance from the always excellent Peter Vaughan. The murder mystery isn't perhaps up to Agatha Christie's standard, but the idea of insurance investigator as detective is a fairly novel one. (OK so they did it in 'Double Indemnity') Also a decent document of Britain in the early sixties.

In films, so many mysteries are investigated by police officers, investigative reporters or family members, all of whom usually conform to a certain 'type', so it's a refreshing change to find a film such as 'Smokescreen' where the person doing the snooping is a very atypical character, a quirky insurance claims investigator who goes about searching for the truth in an efficient yet coldly detached manner. In bringing this character to life, the film affords us a rare early leading role from the excellent Peter Vaughan, but just about every character in this piece is portrayed by a gem of a British actor from the period, even those that appear rather fleetingly.

Added to which, the film is beautifully shot, making very good use of its Brighton location yet not to the point of distracting from the plot. From the dramatic opening scene, in which two young lovers on a clifftop have their tryst disturbed by a burning car zooming along nearby perilously out of control before it plummets over the edge, it is apparent that this is a film of superior quality. Whether or not the car's owner was actually in the vehicle when it plunged into the sea isn't clear, and that is the question which Vaughan's character, Roper, must find the answer to. And even he himself is guarding a secret, as becomes apparent among the various twists and turns this pleasing yarn takes.

My only sense of disappointment as I watched it was that I'd worked out the solution long before the end. Or so I thought, for at the climax I discovered that the film outsmarted me. See if it manages to outsmart you.