Pink String and Sealing Wax

Having read the reviews below, I think this film has received short shrift from the reviewers, so I give it a 10 because I was totally won over by the suspense. Perhaps it is because the reviewers did not get too immersed in the story line as Hamer intended or that they had preconceived notions about the actors as indicated by their unfair criticisms. I thought the actors held up pretty well in their roles, totally compelling and the dialogue highly entertaining. In particular Googie Withers who I felt gave her best appearance worthy of an Oscar were she to qualify. Jean Ireland and Sally Ann Howes provided the lighter side of the drama counterbalanced by the religious fanaticism of Mervyn Johns as the strict patriarch. All in all I found the film very absorbing and at times even riveting.

Excellent acting from the lead players, (especially from Mervyn Johns as the puritanical Victorian pater familias and Googie Withers as the pub landlady and murderess), and a good supporting cast as well mean that this Victorian-era pot boiler set in Brighton could have been something special, given the right direction. Unfortunately, though, it lacks this latter quality and the plot development is disjointed and lacks the necessary twists and thrills to have done the job. What results is a very average, Saturday afternoon matinee thriller, which leaves you thinking of the many ways it could have been improved upon. Perhaps a film studies seminar could use it for this purpose? 6/10.

I must admit a level of disappointment. I am getting these films from a list called Best British Noirs. I have to say that I haven't found the level very high. It's also possible I have already seen the best ones.

This film takes 45 minutes for a plot to develop. I know films have lost the art of the buildup, but it's one thing when you're waiting for the San Francisco earthquake to start and another for a woman to decide to poison her husband.

Most of the film, set in Victorian England, concerns a family run by a strict and unreasonable father. The son in the family meets the flirtatious soon to be widowed Googie Withers. She uses him to make a boyfriend jealous and then steals strychnine from the family pharmacy to kill her drunk husband.

A subplot has to do with the older daughter wanting to pursue professional classical singing. The singing did capture that old-fashioned technique students were trained in, with lots of tremolo.

The title refers to the way pharmacists wrapped their packages.

Googie livens up the proceedings.

A regrettably subdued film from a first-rate director. He hadn't really got into his stride when he made this. Its studio setting feels as if it were something of a straitjacket for him.

There are compensations, though. There is an excellent leading lady, Googie Withers, who smolders superbly. Mervyn Johns is likewise splendid as a rigid paterfamilias. There a number of imaginatively shot scenes, notably the main act of villainy. And there are a couple of unintentionally hilarious moments, such as when a subplot character sings HOME SWEET HOME to gain the attention of Dame Nellie Melba - no, I'm not making that up.

Ronald Hamer's masterpieces were soon to come: IT ALWAYS RAINS ON Sunday (again with Ms Withers) and KIND HEARTS AND CORONETS.

London Live TV station are currently running a season of Ealing Films and the subject was one produced in 1945, a year from which several notable films were produced.I am a fan of beautiful raven haired film star actresses of the 1940s and in her Victorian tight fitting dress and bustle with black velvet choker. Googie certainly sizzled.Although not a conventional beauty like Jennifer Jones, Hedy Lamarr, Vivien Leigh, Ava Gardner etc, she certainly sizzled as the alluring wife of the drunk pub owner (Garry Marsh).Gordon Jackson had to suppress his natural Scottish accent for a film set in Brighton playing a rather naive role, a bit like he did in "Millions Like Us" (1943).I endorse the sentiments of user comments above and see no point in explaining the plot again.

Mervyn Johns was to step up a few gears when he played Dr.Forrester the Butcher of Ravensbruck, a Nazi Scientist in "Counterblast"(1948).Here he just plays on overbearing, rather tyrannical Victorian father who reminds his wife that under the law at the time, her money and property devolves to him.This was to change by the Married Womens Property Act of 1884.For a connoisseur of 1940s films it was a pleasant surprise that London Live transmitted this film on TV and I awarded it 7/10.