The Third Alibi

One of the best plotted films I've ever seen although not much actually happens the plot twists are outstanding

This is a super thriller!

First rate story, with an excellent cast and a well devised plot, from beginning to end.

A writer of musicals is in a troubled marriage, so he plots a way to get rid of his wife so he can continue his relationship with her sister.

Some outstanding performances especially from the errand husband, his wife and the policeman in charge of the investigation.

Modern film makers should study the way this movie is presented: no unnecessary sub-plots yet a spider's web of intrigue with a climax that is brilliant.

Many of these so-called British B movies are far better than most modern-day new releases: 8/10.

An interesting murder mystery that plays havoc with a conventional narrative, THE THIRD ALIBI is one of those intriguing, long-forgotten British thrillers that's well worth a watch for modern audiences. The plot involves the thorough scoundrel Laurence Payne and his efforts to do away with his lovely but ailing wife, played by the eternal Patricia Dainton, so that he can be with lover Jane Griffiths.

There's a neat preamble to the central murder as the characters go through rehearsals; the COLUMBO writers would be proud of the painstaking attention to detail here. In the second half, things become more confused when they don't go exactly to plan, and the film becomes both unpredictable and appealing. My only real complaint is with the moral code of the time which means that certain plot events are easily guessable and quite contrived.

The film was made by the short-lived Eternal Films, who seemed to routinely employ the workmanlike Montgomery Tully as director. They mostly put out low rent crime films although they also dabbled in horror (THE HOUSE IN MARSH ROAD) and comedies (THE CUCKOO PATROL). Dainton gives a fine, fragile performance in this movie, and Griffiths (TREAD SOFTLY STRANGER) does well as the third party involved. Watch out for cameos from singer Cleo Laine and the one and only Dudley Moore, the latter uncredited, but you can see him playing the piano in one scene.

This is now one of my favourite films. As a writer, you come across a story once in a while that you wish you wrote... this is one of mine.

Marriage isn't going well for Norman Martell (Payne), though his wife, Helen (Dainton), has no idea about how he feels. Norman is so discouraged that he has an affair with Helen's stepsister, Peggy Hill (Griffiths). Upon hearing the news that Peggy is pregnant he tells Helen he wants a divorce. Unfortunately for Helen, when he can't get a separation he and Peggy form a plan to kill her...

Even though the twist is telegraphed early on it's not the climax, that you know is coming, that sells this film. It's the story, acting, and direction. All the cast give solid, credible and realistic performances. No one actor or actress is better than the rest. And even though the pace is steady throughout it's the combination of timing, writing, and great characterisations that makes the ending perfect. All the pivotal and important elements weave together at precisely the right time.

One of the best things for me is the ending itself which is delivered like a punchline. Which is fitting, especially if you like dark humour and believe in karma. I admit to actually saying, "Oh Yeah," out loud, along with the closing line, which is really easy to figure out... with a huge grin on my face.

I loved this film... actually, loved this film.

It's with that affirmation in my heart that I recommend this murder mystery to all out there. If you don't enjoy it then there's summat up wit'ya.

You even get a free song from the marvellous voice of Cleo Lane - you can't get any better.

A woman (Patricia Dainton) hears her murder being planned by her husband and sister in "The Third Alibi," a British film from 1961, directed by Montgomery Tully.

Dainton is Helen Martell, a woman with a weak heart, whose composer husband Norman (Laurence Payne) is having an affair with her sister Peggy (Jane Griffiths).

While he's rehearsing his new sure to bomb musical, with wonderful Cleo Laine singing a horrendous song, Peggy drops by the theater to tell him she's pregnant. She insists that he must divorce Helen, who flatly refuses.

Norman plans the murder carefully, including Peggy's alibi. Since Helen overhears the whole thing, she's not home to be murdered. Norman, however, discovers Peggy dead later that evening.

Neat film with a fabulous twist, and it's not what you think.