Homicidio anticipado

I rated this film 5/10 as it was no more than par for the course.The minute George Sanders appeared, I knew he was going to play another suave sophisticated villain as he has played in so many other films.Donna Reed must have been disappointed with her rather anodyne part and Stewart Granger does his best with the dialogue in the mediocre screenplay.

As far as I was concerned, the star of the film was the 1958 white Jaguar XK3 sports car.A few location shots around the south of France were seen but the rest was obviously shot in a film studio.The most farcical shot was a so called "car chase" that seemed to be wholly and claustrophobically shot on the film set where the cars seemed to be going round in circles around the artificial buildings!

The whole truth. The 1958 one. Stewart granger, donna reed, george sanders. Married but separated max poulton (granger) has been enjoying the company of his leading lady gina (giana canale) while out of town, working on a film. But when he tells gina it's over, she gets angry. Then carliss from scotland yard shows up, asking questions. About gina's murder. And then, a very drunk gina shows up! And she hasn't been murdered. So what is this carliss pulling? And when things get crazy, now carliss is telling a completely different story. What's going on ? Can max convince the coppers that he had no part in any of this? We feel the suspense and anguish that poulton is going through, as the police lock him up. It's pretty good. Kind of a silly bit right at the very end, but it all works. Based on the play by philip mackie. He won the bafta for court martial. Directed by john guillerman. He had also directed the 78 version of death on the nile, and towering inferno!

Max Poulton (Stewart Granger) is a movie producer working on the French Riviera and having a tempestuous affair with his leading lady, Gina (Gianna Maria Canale). Max considers coming clean to his faithful wife, Carol (Donna Reed), but a mysterious man named Carliss (George Sanders), a detective from Scotland Yard, informs Max that Gina has been murdered. When Gina shows up to Carol's party alive, and then is murdered hours later, Max believes he has been set up by Carliss, who now claims that he was Gina's husband and not a detective.

A slick and stylish whodunit with many twists and turns stars Stewart Granger who is quite debonair and convincing as a film producer who is framed for the murder of an actress he once had a fling with. She threatens to reveal this to his wife. But of course, she gets stabbed, but not before George Sanders, in a typical slimy cad role, appears, kickstarting a cat and mouse situation. From the beginning, THE WHOLE TRUTH proves to be quite a compelling thriller, and it's a great to see Granger and Sanders play off against each other. Gianna Maria Canale as the vamp-like actress is really good in her role, and Donna Reed does well, too.

Max (Stewart Granger) is a film producer and lousy husband. Why lousy? Because some time ago, he had an affair with one of his leading ladies but his wife doesn't know about it. However, his latest film project is with this same temperamental actress and Max is naturally concerned about what this unstable lady will do. Well, it turns out she's not the one to worry about, but her deranged husband...who works out what seems to be the perfect frame up when he kills his wife. What is Max to do?

The best part of the film is George Sanders...who plays wonderful villains. Here, he's at his smoothest and nastiest and he sure has got poor Max in a bind! Overall, well done and my only reservation is that the story is amazingly farfetched when you think about it.

A rather tawdry murder mystery set among film makers in the South of France (although the principals plainly never left Walton-on-Thames), directed for all its worth by a young John Guillermin (later described by Granger as "peculiarly lacking in charm, to say the least") from a screenplay by film noir veteran Jonathan Latimer from a play by Philip Mackie, with gothic photography by Wilkie Cooper and suitably trashy musical accompaniment by Mischa Spoliansky (performed on the soundtrack by Johnny Dankworth).

It's good to see female lead Donna Reed play a more active role in the proceedings than one is accustomed to, while George Sanders also looks less bored than usual during this period in his life.