Tread Softly Stranger

The stunningly beautiful Diana Dors gets involved with two brothers in "Tread Softly Stranger," a 1958 British 'B' movie. It's on a set of six films called "British Cinema," and it's by far the best of the lot.

Dors is Calico, a real slut, albeit a gorgeous one, who is hanging out with a nerdy office worker, Dave Mansell (Terence Mansell), an accountant in a nearby factory. Then his brother Johnny (George Baker), a handsome con man running away from a bad debt, comes to town. Calico quickly switches allegiance, but keeps her options open. When Johnny finds out that Dave is 300 pounds short in the accounts because of embezzling to buy Calico gifts, he decides to hock the watch Dave gave Calico, add his own money to it, and gamble on a sure thing. With an impending audit coming up, there isn't much time to replace the money.

Unfortunately, Calico has another idea. While Johnny is at the race track and winning, Calico convinces Dave that Johnny isn't coming back and insists that he just rob the factory of all its money - that way, the shortfall won't show up. She promises Dave that if he does it, she will go away with him. Turns into a real mess.

This is a very suspenseful story, very dark and loaded with atmosphere. One gets the feeling of a small, crummy factory town. The acting is good; Dors is a knockout. Definitely work seeing.

Johnny Mansell is forced to flee London after running up large gambling debts and returns to his native town, the industrial town of Rawborough, where he moves into a flat with his brother Dave and Dave's girlfriend Calico. (It's a nickname!). The two brothers are, at least on the surface, very different. Johnny is a suave, fashionably dressed playboy, whose sources of income are rather mysterious, whereas the dowdy, bespectacled Dave is a wages clerk in a local steel mill. The outwardly respectable Dave, however, is hiding a guilty secret. He has embezzled £300 from his employers in order to buy expensive gifts for the glamorous but mercenary Calico and desperately needs to repay the money before the auditors make their annual visit to the firm. Johnny believes that he can win enough money in a betting coup, but Calico comes up with a plan for Dave to rob his workplace and to steal enough money to cover his fraud. Dave is desperate enough to go ahead with this plan, and the rest of the film deals with the disastrous consequences of his action.

British films noirs, unlike their American counterparts, often included elements of the "kitchen sink realism" which was very much in vogue in the Britain of the late fifties and early sixties, not only in the cinema but also in literature and the visual arts. "Tread Softly Stranger" with its factories and its shabby flats and nightclubs, permeated by an atmosphere of seediness and moral corruption, fits well into this tradition. George Baker's Johnny, a handsome, charming drifter living on the edge of the law but with a certain sense of honour and loyalty, is a classic noir figure.

This was the second film which Diana Dors made after returning to Britain following her brief and unsuccessful attempt to conquer Hollywood; the first, "The Long Haul", was also a crime drama. Dors is often thought of as Britain's answer to America's blonde bombshells like Marilyn Monroe and Jayne Mansfield, but on the evidence of this film she could also be seen as the British equivalent of femmes fatales like Lizabeth Scott and Gloria Grahame. American films noirs often featured a beautiful and seductive but dangerous young woman as one of the main characters, and British directors working in the same style sometimes copied this feature. Although there were occasional brunette examples, such as the character played by Ava Gardner in "The Killers", the majority of these women were blonde, possibly because blondes had a greater visual impact in films shot in black-and-white. (This was said to have been the reason why Hitchcock used blondes in so many of his films, although he continued doing so even after he switched to colour).

Diana's pneumatic figure and platinum blonde looks meant that she was often cast in comedies, generally with a sexual edge to them, but her real strength was in serious drama. (Although many people thought of her as little more than a sexy bimbo, she was actually a classically trained actress). "Yield to the Night" from two years earlier is often quoted as her greatest achievement in the cinema, but in my view she is equally good here. The two roles are in a sense complementary. Mary, her character in "Yield to the Night", is a murderess, yet is portrayed as a woman more sinned against than sinning. Calico, by contrast, is selfish and amoral, yet it is Dave and Johnny, both of whom have fallen for her charms, who have to pay the price for her selfishness and amorality.

The one jarring note in Diana's performance is her accent. In her private life she spoke with a strong West Country accent- she was a native of Swindon- but in her films she generally used the upper-class Received Pronunciation she had learned at drama school, and that sounds wrong here, as Calico is supposed to be a working-class girl who has clawed her way up from the gutter. British film-makers of this period, however, could be curiously careless when it came to regional accents, even when they were aiming for realism in other respects. Rawborough is supposed to be in Yorkshire- Rotherham was used for location filming– but there are hardly any Yorkshire accents to be heard. ("Brief Encounter" is another example of a film ostensibly set in the North where everyone sounds as though they are from the Home Counties).

The film did well at the box-office on its original release in 1958 but was generally ignored by the critics; there was a common assumption, on both sides of the Atlantic, that crime dramas, including some which are today regarded as cinema classics, were no more than potboilers. Interest in them, however, has grown over the decades. "Tread Softly Stranger" is not, perhaps, in the same class as the greatest British noirs such as Carol Reed's "The Third Man" or Robert Hamer's "The Long Memory", but with its gripping action, some good acting and its starkly expressionist photography of the industrial scenes it certainly remains worth watching. 7/10

When the British make a "B" movie, they tend to get it right -- and "Tread Softly Stranger" is a good example. George Baker as Johnny has left London and returned to his childhood home -- a scraggy northern town -- to escape the bookmakers who are screaming for his hide. His brother, Dave, a payroll clerk at a local steel mill, is a wimp, hopelessly smitten with next door neighbor Diana Dors. When the brothers set out to heist the mill's payroll, everything that can possibly go wrong does -- no surprise. But there's a nifty twist at the end that certainly is surprising. The atmosphere -- from grubby pubs to the factory's blistering operations -- provide a colorful backdrop. Worth watching.

This is not a great movie by any stretch of the imagination. But it IS fun, lots of fun. The characters are real people with all the frailties and peculiarities that make them interesting. Even though I half expected the outcome it didn't really matter because the way there was so much fun to watch. Nobody was perfect, all good or all bad, just real. Of the two brothers one began as shady and questionable character and the other as an upright citizen but as the film progressed they switched places. The transition was believable and based on facts clearly brought out in the script. Diana Dors was the fulcrum about whom the entire exercise revolved and she did an excellent job playing a woman who is confident of her appeal, willing to use it, but is anything but one-dimensional.

So what's not to like? I can't help but think that in the hands of a better director this could have been much, much better. Those same elements that made it fun could have made it great had they been handled more expertly. Dors' sensuality was shamelessly exploited and don't get me wrong, I just as shamelessly enjoyed every bit of it. But there were some superfluous shots that did nothing to advance the plot and appear to have been inserted just to give us another look at this gorgeous woman. And then there was the theme song, played to distraction. I for one, don't get the connection. What do the words "Tread Softly Stranger" have to do with the relationship between two brothers and a woman?

But in the long run, even though I can't rate it any higher, I heartily enjoyed this film and will gladly do so again. For those who haven't yet seen it do so immediately.

TREAD SOFTLY STRANGER is a tense and immersive British film noir featuring a headlining performance from Diana Dors at her most sultry and alluring. The story is a basic love triangle compounded by money worries, which lead to robbery and murder, all set within a grim and run-down northern industrial town. The opening scenes, which show off a fabulous and elaborate rooftop location complimented by Dors and her morning exercise routines, are great and racy stuff indeed.

I always feel that when a British B-movie thriller gets everything right then it's head and shoulders above rival American fare and that's the case here. This tale was originally adapted from a play but the cinematic version gets everything right and in particular the cast is a fine one.

Dors obviously holds the attention with her bombshell performance, but the real star of the thing is the underrated Terence Morgan (CURSE OF THE MUMMY'S TOMB) who propped up many a B-movie with his villainous turns. He has more depth to his character than usual and does very well with it. George Baker - TV's Inspector Wexford - plays the straight role and is very nearly as good, and a young Patrick Allen rounds off the cast.