The Last Page

Although the wonderfully sultry Diana Dors receives a full frame "introducing" credit, this was actually her 16th movie. She was in fact credited in 13 of her previous appearances and in at least half of them had major roles. So much for "introducing"! Needless to say, Diana effortlessly walks away with the movie even though her role is not as large as the title implies. Most of the action is held down by sleazy Peter Reynolds who contributes most of the noirish plot twists, assisted by opportunistic blonde, Eleanor Summerfield. The middle-aged hero is adequately presented by George Brent, although both he and his fellow American, Marguerite Chapman, appear so overawed by their U.K. surroundings, that even when Dors and Reynolds are not around, they allow everyone else in the cast, including Raymond Huntley, Meredith Edwards and most especially Harry Fowler—and even Leslie Weston and Nelly Arno—to steal scenes from them! In all, however, this is a reasonably gripping little thriller, provided you don't expect another Dial M. for Murder from writer Frederic Knott. The atmospheric bookshop set is both unusual and highly effective.

The Last Page (AKA: Man Bait) is directed by Terence Fisher and adapted to screenplay by Frederick Knott from James Hadley Chase's story. It stars George Brent, Marguerite Chapman, Raymond Huntley, Peter Reynolds and Diana Dors. Music is by Frank Spencer and cinematography by Walter J. Harvey.

John Harman (Brent) is a London bookshop manager who finds himself blackmailed by his busty young assistant, Ruby Bruce (Dors), and her new ex-convict beau Jeffrey Hart (Reynolds), when he foolishly steals in for a kiss during after hours stock taking.

Bookshop Noir.

British Hammer and American Exclusive teamed up to produce a number of low budget crime dramas in the early 1950s, often using American stars and directors blended in with British actors, they were produced in Britain in next to no time. The Last Page is a safe viewing for the undemanding film noir fan. Terence Fisher would become a legend amongst British horror fans (rightly so) for his work on Hammer's reinvention of the Universal Creature Features. Here he crafts a nifty atmospheric melodrama without fuss or filler, while just about managing to stop the flaws and daftness of plotting from sinking the picture.

Story has some interesting noirish characters and themes. The man who begins to pay for a moment of weakness, the young shapely gal in over her head-lured to the dark half by a well spoken criminal element, while some secret passions amongst the staff of this particular bookstore come to the fore once things inevitably go pear shaped. The setting is a doozy as well, this bookstore is perfectly antiquated, so much so you can smell the leather bound novels nestling on the shelves. Walter Harvey's (The Quatermass Experiment) photography ensures that shadows feature throughout, and there's the odd macabre touch that befits the writing of Frederick Knott (Dial M for Murder/Wait Until Dark).

Cast are professional to the last. Brent (The Spiral Staircase) and Huntley (I See a Dark Stranger/Night Train to Munich) are the epitome of gentlemen in a rut, stoic and stiff, grumpy yet gritty, but nicely portraying men we expect to appear in a bookstore noir. Chapman (Coroner Creek) has an abundance of hard looking sexuality and Reynolds has a spiv nastiness about him, very cold but charming. But it's Dors who holds all the aces, she would impress herself upon many a red blooded male during three decades of British film and TV. Here at aged 21, as Ruby, she's a curvy blonde babe with full lips, a gal who understandably turns the heads. The character is tardy as well, hardly a crime, but mostly in Dors' hands she's believable as a girl clearly out of her depth, she's not a femme fatale, she's a weak willed person hurtling towards film noir doom. It's here where this British B noir gets its worth.

It's not a great film by any stretch of the imagination, but it is a good one considering the modest budget afforded it. There's dumb decisions made by characters, holes of plotting and the ending fails to seal the deal after the hard noirish mood eked out by Fisher, Harvey and Dors. However, as film noir time fillers go, it's well worth checking out. 6.5/10

The only film Hammer made from a novel by James Hadley Chase; a bookshop provides an unlikely backdrop for such a sordid little story of passion and blackmail.

Despite the obligatory American stars the real drama concerns the British supporting cast; most of whom are allowed a little nuance. Although the American title refers to Diana Dors, it's actually more applicable to Peter Reynolds, who really plays the film's baddie, and who you spend most of the film yearning for him to get a good punch in the face.

That was worth it just to see a 20 year old Diana Dors looking stunning with lips to die for.

Apart from the bottle blonde she looked largely natural at this time and more to my taste that the over made up Marilyn Monroe.

Her character attemps a clumsy seduction in the back of crusty George Brent's book shop office that along with her slimy male accomplice played by Peter Reynolds leads to blackmail and tragedy.

George Brent had his Hollywood moments I particularly liked him in Temptation playing an Egyptologist alongside Merle Oberon but here he is passed his prime.

An early Hammer thriller movie for a rainy winter's afternoon , now available in the public domain on Youtube.

...First thing he does is go to a bookstore. He tries to steal a book. That is how logical this movie is throughout. When we see shelves of books at a time, later, the books seem to be attached to each other. They're like room decorations some people buy in bulk.

The proprietor of this bookstore is, of all people, George Brent. He had a long career. Though this is a noir of sorts and I therefore can't give it a bad rating, let's just say this is hardly a career highlight for him.

Marguerite Chapman is attractive and convincing as his employee. She's stylish and pretty and comes off as nice.

This is an early Diana Dors film. She's decent in it. She gets pulled into some very bad behavior. But she's not a truly terrible character. She's chronically late to work and weak willed.

This isn't a memorable or distinguished film. But it isn't terrible, either. Nor does it hold to any formula. It's mediocre in a unique way.