Marilyn

Recently shown in all its sleazy glory on BBC 's British B season, this leans heavily on the Hollywood classic THE POSTMAN ALWAYS RINGS TWICE - indeed Sandra Dore's character would aspire to the glamour of a Lana Turner. It follows the template of the hot sexy young wife using her hunky but dumb young stud to eliminate her inconvenient older husband but adds a few ingredients of its own. Marilyn tends be too whiny to be sympathetic and Maxwell Reed (a pin-up of his day) manages to convey the fall-guy mechanic's infatuation and confusion as his lover increasingly takes him for granted. The film throws in the added complication of the character of Rose who nurtures unrequited lesbian feelings for Marilyn but the actress's reading of her lines is monotonous and unfeeling - trying to be downtrodden, she merely comes across as vacuous and a bad actress. An unrecognisably young Ferdy Mayne crops up as a sleazy, flashy hustler who woos Marilyn with promises of the high life but skedaddles when she grows too serious. Best actor is Leslie Dwyer = Mr Partridge himself - as the cuckolded hubbie who comes to a predictable end. British B films ended to reflect the seedy down-at-heels side of England - mostly because they couldn't afford to gloss things up. In a way, they paved the way for the kitchen sink films of the late 5's- early 60's. However, they lacked actors who looked the part like Albert Finney and Tom Courtney. They had to settle for Maxwell Reed. Dwyer looks the part and inhabits his character more convincingly than the others.

Wolf Rilla made an extraordinary directorial debut with this nihilistic piece of low life which most commentators have compared to 'The Postman Always Rings Twice' but actually more resembles 'Ossessione'.

Leslie Dwyer is meaner and more dictatorial than the husband usually is, Sandra Dorne just a spoilt child with terrible taste in men; and no prizes for guessing which side Vida Hope bats for.

(1953) Marilyn/ Roadhouse Girl CRIME DRAMA

Written and directed by Wolf Rilla that has Tom Price (Maxwell Reed) looking for a job, and his boss, George Saunders (Leslie Dwyer) employs him as a mechanic. Meanwhile, George's trophy wife, Marilyn Saunders (Sandra Dorne) is dancing with Rosie inside the diner until her husband comes in and pulls the plug. It appears he not only owns the gas station but that he also the small diner that came along with it. George is also a penny pincher and controls even his own wife's finances, and during one of their arguments he even sends two two Quid to her dad each month. Blowing George's top is when Marilyn is seen dancing with George's new hire, Tom. And as a result he kicks everyone out of the cafe and closes it early before he scolds her some more. And when she expresses about traveling to London, he would either ignore and abandons her, leaving her and Tom to mingle some more. The situation becomes complicated is when Marilyn's husband, George comes home early, only catch his wife and Tom frolicking in his room, and he clocks him one as soon as her husband wants to put his hands on her.

If anyone were to watch this should be able to recognize the set up is almost identical to "The Postman Always Rings Twice" with the difference is that the older husband, George is kind of a control freak, extremely jealous and controlling of his own wife, Marilyn.

Dreadful beyond comprehension. Sandra Dorne can barely act, Vida Hope can't act at all, and the often excellent (if usually typecast) Ferdie Mayne has been given terrible lines to work with. Leslie Dwyer is reliable as always, in possibly his nastiest part ever. The cinematography is muddy, and the editing clunky. The ending is meaningless. The only bright spot is the hilarious poster, which bears zero relationship to the plot.

I saw this today Monday 20/8/18 on "Talking Pictures" channel 81 for the first time.Elements of the captioned well known films were used in its plot line and.In place of John Garfield we have Maxwell Reed giving his eyebrowns another workout.In place of June Anderson (Mrs Danvers) from Rebecca we have the character of Rosie, with lesbian longings for Sandra Dorn which of course could not be shown on screen in 1953 only suggested.The points made by other reviewers were valid but the final scene of police cars drawing up to a stop at the petrol station indicated the producers were short of the funds to finish the film and /or didn't know how to give it a satisfactory ending.This may account for its mediocre rating by reviewers just over 5 whereas I awarded it 6.