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In 1950, American producer Robert Lippert formed a business alliance with Hammer studios. Under the agreement, Lippert would provide American acting talent - frequently shop-worn stars or just supporting actors who fancied a profitable trip out of the country - while Hammer would supply the rest of the cast and the production facilities. Together they would split the profits. Famous for his concern with the bottom line, Lippert produced over 140 films between 1946 and 1955, characteristically genre pieces such as I Shot Jesse James or Rocketship XM. For the British deal, most of the films were noir-ish thrillers - and include this title.

Directed by American B-meister Reginald La Borg, The Flanagan Boy is a hugely enjoyable tale of a young boxer whose career is destroyed by the blonde of the US title, the aptly cast Barbara Peyton. Peyton, whose short career was marred by disastrous excesses and liaisons in her private life, is marvellous as the scheming fatale Lorna Vechi, whose marriage to a doting boxing manager is a sham, and whose sexual predations draw in most men around her. Surprisingly explicit in showing female desire (at one point Lorna licks her lips in close up as she eyes the torso of the well formed fighter, standing all self- conscious and sweaty after a bout), as others have noticed this is a film that recalls the similar shenanigans of The Postman Always Rings Twice (1946). Sid James makes an appearance as the original manager of the doomed boxer, and it's a film that still bears up well.

Much as 1948's Whiplash was a cross-knockoff of two John Garfield vehicles (Body and Soul, Humoresque), Bad Blonde grafts Body and Soul to The Postman Always Rings Twice, then transplants the hybrid to alien English soil. At a carnival boxing concession, young Johnny Flanagan (Tony Wright, who looks like young John Kennedy) takes up the challenge and reveals himself as quite the pugilist. Concessionaire Sid James, a savvy judge of boxing talent, sees his opportunity to make a comback in the prizefight racket. He gets Wright signed up with rich old Italian promoter Frederick Valk, who on a recent tour of America has brought back Barbara Payton as a souvenir.

When Wright catches a furtive glimpse of Payton smoothing a stocking along her thigh, he's struck tongue-tied. She's not so bashful, licking her lips as she rakes her eyes up his torso, stripped for the ring. Soon, under the guise of training at Valk's country manor, they're having clandestine clinches in the bracken. But, it apparently being true about leaving one's fight in the bedroom, Wright starts losing his timing, and, more urgently, an important match Valk arranges, thus jinxing his career. But Payton has money, or rather will have once her husband goes down for the count. She feigns a suicide attempt and a pregnancy, then dangles the possibility of murder. The diffident Wright, thinking the child is his, falls in with the plan...

Somebody besides Payton must have been obsessed with Wright's body: The camera finds every opportunity to linger over it, in the ring and under the water, in trunks and towels and bathing briefs. Did this male-fixated aspect of the movie, originally titled The Flanagan Boy with Wright its title character, cause sufficient panic to have the movie renamed and remarketed? As Bad Blonde, it capitalizes on Payton's aggressive allures, soon to be available on the open market: The actress would drift into tabloid scandals, check-kiting and ultimately prostitution. Only four more films would remain before her last, Murder Is My Beat, in 1955. Twelve years later she would be dead of alcohol-related causes.

As part of an arrangement with American producer Robert Lippert, Britains' legendary Hammer Studios (known at this time as Exclusive) knocked out a bunch of low-budget features which included film noir stories such as this one. Directed by horror genre specialist Reginald Le Borg ("Calling Dr. Death", "The Mummy's Ghost", "The Black Sleep"), it tells a comfortably familiar tale. The beefy Tony Wright plays Johnny Flanagan, an up-and-coming boxer taken under the wing of trainer Sharkey (Sidney James) and flamboyant old Italian promoter Giuseppe Vecchi (Frederick Valk). Then the promoters' sultry wife Lorna (Barbara Payton) sinks her hooks into Johnny, trying to inspire him to bump off Giuseppe.

"The Flanagan Boy", a.k.a. "Bad Blonde", is no great example of the film noir genre, but it does include a number of its standard elements in respectable fashion. Johnny is a classic "poor sap" who suffers tremendous guilt, but who still feels overwhelmed by the advances of this sexy siren. Star attraction Payton *is* a perfect example of the "femme fatale" archetype: conniving, self-serving, manipulative. This is a solid vehicle for her talents, at the least. Her entrance is memorable, as we and the camera ogle her legs when Wright catches sight of her in Valks' home. James (in a largely serious performance), John Slater (as the amiable Charlie), and an unbilled George Woodbridge (as the police inspector) offer excellent support. Valks' performance tends to be a little much at times, but one certainly can't accuse the actor of phoning it in.

A worthy viewing for aficionados of Hammer and the noir genre in general. Future top Hammer screenwriter Jimmy Sangster was the assistant director here.

Seven out of 10.

AKA..."The Flanagan Boy"

That Was the Original British Title, from the Famous "Hammer Studios" that Copied America's Film-Noirs in the Early 50's,

Before the "Lighting in a Bottle" was Captured by Copying America's "Universal Studios" Horror Icons (Frankenstein, Dracula, The Mummy, The Wolf Man, The Phantom of the Opera, etc.).

Hammer Imprinted its Own Gravitas by Brilliantly Overlaying the "Monsters" in Luscious Rich Color, Detailed Beautiful Sets, and to Top it Off...Low-Cut Displays of the Female Form, Modernized Bloody Violence, and to Top-Off the Top-Off,

Brought Forth 2 Dynamic Actors, Peter Cushing and Christopher Lee who Became Icons of Horror with Long and Distinguished Careers.

But "Bad Blonde" was Made Before All That, when "Hammer" was a Low-Budget Studio Doing Solid, Entertaining, B-Movie Genre Entertainment on a Shoestring, Noirs and Adventure Movies Mostly.

In this One, a Real-Life "Bad Girl", Barbara Payton, Supersedes Everything and Everyone in this British Copy-Cat Plot,

by Bringing to the Character and Screen the "Real Deal", for She in Real-Life was Living the Caricature that was so Much in Demand in the Hard-Boiled World of Pulp Fiction and the Big Screen.

Looking "Hard as Nails" that Barely Hid Her Behind the "Performance" of a Lustful, Alluring, Magnetic, Femme Fatale that was "Rotten to the Core". She Didn't "Nail It"...She Was It.

Hammer Made this with Prolific B-Master, Director Le Borg who Sensibilities were Aligned with the Budget and Style of Genre

and Delivered Along with the Cinematographer, some Angels and Sets that were "Artistically" Above Average and Worthy of the B-Movie Sensationalism that its Fans Loved, Admired, and Supported.

Tony Wright, in His 1st Movie is a Bit Stiff...

after Ogling Payton Licking Her Lips and Sliding Her Stockings, who Wouldn't Be? He Never Recovers.

But the Biggest Gripe has to be Frederic Valk as the Rich Husband and Boxing Promoter is So Gregarious and Over the Top,

Loudly Expressing His Every Thought, Shouting Louder and Louder Like Everyone in the Room is Near-Deaf.

It is Hard to Stomach and may Drive Sensitive Types Away Faster than You Can Say..."Maybe bumping him off isn't such a bad thing". But Seriously!

Other than that bit of Sarcastic Criticism, Hammer's British Take on Film-Noir is Stylish, Competent and Obviously Very British.

It Would be Less than 5 Years Later when "Hammer Studios" Hits Artistic and Commercial Success that Lasted Almost 20 Years.

Still Remember Fondly Today for its Contribution of Excellent Cinema Done with a Panache that Many Imitated but Never Came Close to Duplicating the Aforementioned "Lightning in a Bottle".

If it's a Hammer Film...It's...Worth a Watch.

I watched this movie because I am a Barbara Payton fan. She is, unfortunately, most remembered as the movie star who crashed and burned, ending her life as an impoverished alcoholic skid row prostitute. However, this tragic woman was bountifully talented. She was also, during her young years, stunningly gorgeous. She gave brilliant, and brilliantly natural, performances in "Trapped," "Kiss Tomorrow Goodbye," the campy "Bride of the Gorilla," and (her cinematic swan song) "Murder Is My Beat." "Bad Blonde" was originally entitled "The Flanagan Boy" in England where it was made. It could have been called "Blonde Boy" since Tony Wright is just as light-haired as Barbara Payton.

With either title, the movie clearly intends to capitalize on Payton's personal tragedies. In 1951, actors Tom Neal and Franchot Tone got into a brawl over Payton, with Neal (who had been an amateur boxer) easily battering Tone into a coma. After his recovery, she married Tone but soon broke up with him to re-unite (although they never wed) with Neal. The original trailer for the movie says, "Barbara Payton as she lures a man to destruction for her own insatiable delight" and adds "bad is the word for Barbara." Payton plays Lorna Vecchi, a former taxi dancer turned housewife to Guiseppe Vecchi, an Italian immigrant to England who is a boxing promoter. As the film starts, he starts promoting Johnny Flanagan who is played by Tony Wright.

Lorna and Johnny dislike each other, then fall in passionate love. What to do about her hubby? Divorce just does not seem to be in the cards for film noir characters so we can guess they will off the poor man.

The "bad" of the title also applies to the film itself. It is an uninspired mishmash of a boxing film and a film noir. Directed by Reginald Le Borg, with a screenplay by Guy Elmes and Richard H. Landau based on a novel by Max Catto, the film is fast-paced but predictable.

There are a few sexy moments as when Payton adjusts her nylon stockings or lets a fur slip off her shoulders. I also liked watching her briefly dance as she showed grace and fluidity. The film is rather daring in underlining female lust when Lorna licks her lips while gazing at the boxer's body.

The paint-by-numbers and lackadaisical script does not give Payton the space to create a layered or subtle character. Tony Wright is similarly limited. Frederick Valk, of German origin, is believable as the blustery Italian but sometimes a bit over-the-top. Sidney James as Sharkey, a boxing assistant and friend to Johnny, gives a performance consisting mostly of eyebrow raising and knowing looks. Selma Vaz Dias, who plays Guiseppe's sister from Italy, looks oddly like a man in drag.

Although "Bad Blonde" is fast-paced, neither story nor characters grab and maintain interest. I would recommend it to other Barbara Payton fans to see at least once just for her performance. But I would not advise anyone to expect a memorable or meaningful viewing experience from this movie.

I saw this under its alternate title "Bad Blonde." Though Barbara Payton is billed before the title, I was confused: Yes, the actress had quite a reputation. She had life that was messy and ultimately very sad. It was more sordid and more interesting than the tabloid girls of today.

And the character she played was bad, to be sure. Yet, the movie makes much more sense under its original title: It's primarily about the character played by Tony Wright. Ms. Payton wears some alluring costumes but we hardly ever see Wright with his shirt on. When he's not boxing, he's swimming.

It's a sad story. Sort of a film noir, yes. But we feel bad for the basically decent people who are trampled on because of others' greed and desires. Frederick Valk is excellent as Giuseppi, the man drawn into representing the title character in his fight career.

The plot reminded me, particularly in his character, of Tennessee Williams" "Orpheus Descending." An interesting movie, if ultimately not an especially good one.

Sidney James and John Slater bring Tony Wright to Frederick Valk. Here's the next boxing champeen! Valk have been out of fight promotion since he married taxi dancer Barbara Payton, but he likes Wright's form, and with the acquiescence of Miss Payton, he takes on the three of them. Of course the boxer and the woman are going to wind up having sex and murdering Valk, who's doing a great Akim Tamiroff impression. It's just that it would be nice if the lovers were capable of acting, or the lines they speak weren't so terrible.

Wright is merely bad, but Miss Payton is a new kind of awful as she visibly forces her face to show emotions she doesn't feel. The two very blond actors were clearly intended to suggest Alan Ladd and Veronica Lake, but aside from the near hair parting, Wright sounds confused by every word he utters, and Miss Payton seems to be zombified in her motions.

Without these two, it might have been a mediocre boxing noir. With them, it's a ridiculous bore, with snippets from half a dozen more distinguished efforts.

An ambitious undertaking for Exclusive, strictly speaking based on a novel by Max Catto, but suspiciously resembling 'The Postman Always Rings Twice'; it bears viewing today as a showcase for the ill-fated Barbara Payton and an almost spectral appearance by Selma Vas Diaz as the cuckolded husband's vengeful sister.

It is difficult to understand the fascination with Barbara Peyton other than the fact that it ended in miserable circumstances. I recently bought her biography which runs to no less than 600 pages,about double the normal.

Tony Wright is here appearing in his second film. So it is difficult for either of them to keep this film dramatically alive.

The acting honours for this film must go to Sid James as the trainer and John Slater as the sparring partner.

The film starts out as a boxing drama and ends up as a thriller.

Maybe this film would have been better if Hammer had cast stronger,more able leading actors.

After a thunderous triangle affair that shaken Hollywood between Franchot Tone, Barbara Payton and the former boxer Tom Neal, it ruins her career for good, all majors studios shut down their doors for her, in declining process he accepts an offer of Robert Lippert that through a joint-venture with Hammer studios on England make a movie there, The Flanagan Boy later re-named on America as Bad Blonde, once more dealing with boxer fighter, if is on purpose means that the producers want capitalize on Barbara Payton background.

At carnival a former boxer's agent Sharkey (Sidney James) has a small busines there, where he challenges someone on the audience for a couple rounds against a retired boxer, when sudden appears the young Johnny Flanagan (Tony Wright) whom knock down his opponent, there he meets his old pal the trainer Charlie (John Slater) both and Johnny must looking for a famous promoter for Johnny, whereof Sharkey aware that Giuseppe Vecchi is on London, the old promoter coming from New York bring a new wife a former dancer Lorna (Barbara Payton) meanwhile the upcoming agreement between Vecchi and Sharkey over a possible partnership, something arises on Johnny over so gorgeous blonde, a sort of secret feeling.

Meanwhile the training at Vecchi's mansion, Johnny and Lorna meet privily at barn, Lorna envisages on Johnny her freedom from the loathsome fat Vecchi, exposing to him that is pregnancy, it somehow disturbs the young Johnny, as display in the fight when he had the opponent at your hands on first round, lost the match when Lorna arrives there, hereinafter Lorna push him to get rid of Vecchi or she own will poisoned his husband, the naïve guy blind by jealous settle a plan to murder him.

Many of reviewers posted here that the picture reminds The Postman Always Rings Twice, well it has some resemblance quite sure, not exactly the same plot whatsoever, due here the main reason is boxer fighter struggles against his own yarning, in other hand a scheming girl deceiving a silly guy enchanted by the sexy bombshell, one's latest movie from Barbara who entered in a self-destruction process that ends up in prostitution at Sunset Boulevard at Los Angeles to afford her drugs addiction and alcoholism as well, her nasty sexual behavior screw up a supposed successful career, I have a great interest on Barbara Payton's life due she had a tremendous potential, a case should be studied!

Thanks for reading.

Resume:

First watch: 2023 / How many: 1 / Source: DVD / Rating: 7.

The plot is not that interesting but not that lousy either. And it is from Reginald LeBorg, a B pictures film maker whose stuff is always worth seeking, except some Joe Palooka gentle junk, trash. So this scheme of a young prize fighter in love with a blonde femme fatale can be annoying because so many times evoked in the past in many movies, but it' is not a good reason to avoid this rare gem because the story is riveting, tough, you don't wish to stop the viewing. And acting is pretty good for this low budget material. This definitely a noir drama which seemed to have been inspired by a James Hadley Chase's novel.

Bad blonde, but called the flanagan boy in england. The trivia section calls this the british version of postman rings twice. In this one, a boxer making a comeback makes a play for lorna, his manager's wife. And that can't end well. Lots of ups and downs for johnny, depending on how lorna treats him that week. Now, lorna wants johnny to bump off hubby, but will he go along with that? Big decisions to be made. It's okay. Some fun twists and turns. The background music is all very typical, off the shelf dramatic, suspense type music. Directed by reginald le borg. I had seen a couple of his other films, and wasn't too impressed with either of them. This one has a bigger budget than those! It's predictable, but not so bad. Boxer films were big in the 50s.

This is a British, early Hammer rip-off of THE POSTMAN ALWAYS RINGS TWICE starring Barbara Payton. It's very dull and slow, even though Payton, Sid James and others try hard. One of the worst things in it is an over-the-top, scenery-chewing, story-stopping performance by Frederick Valk. He plays the cuckolded husband and does it with more Italian cliches and stereotypes than anyone could think possible.

I'm a fan of Hammer films, but this one's unwatchable. Reginald LeBorg has done far better work elsewhere.

I see many compared this to the Postman Always Rings Twice. I just found it a typical beautiful wife encouraging a young lover to kill her husband. You can compare it to lots of films.

Bad Blonde stars the real thing, Barbara Payton, as the young woman who is married to Giuseppe (Frederick Valt), a fight promoter and businessman.

When she meets his latest find (Tony Wright) there is an instant attraction, disguised as hostility. It then goes the ordinary route. Wright doesn't put up much resistance.

Barbara Payton had one look - bored out of her mind - throughout the film. She was extremely beautiful and desirable - desirable enough for Tom Neal to beat Franchot Tone into a coma.

Payton's best film was at the start of her career, and it was downhill from there.

She wound up an alcoholic prostitute. When offered rehab, she said, "I'd rather drink or die." At age 39, she managed to do both.

After a bit too much partying on this side of the pond Barbara Payton got this offer from Great Britain for The Flanagan Boy. She got to play a vixen in a story that resembles Double Indemnity with some traces of They Knew What They Wanted.

Merchant sailor Tony Wright takes up trainer Sid James's offer to 3 rounds with his fighter at a carnival and flattens him. James takes him up he soon as a heavyweight contender and fixes his him up with Frederick Valk as a manager.

Valk likes what he sees, but so does his tramp of a wife Barbara Payton. Soon enough these two are hot and heavy in the kanoodling. But her ultimate game is to kill Valk and Wright might just think long and hard enough with his male member to do it. He's putty in her hands.

This one was a bit too slapdash in its preparation for my tastes. And Payton while gorgeous is not in the category of Barbara Stanwyck as an actress.

This boxing/noir film could have been a contender.

In the Hammer British Film Noir BAD BLONDE originally titled THE FLANAGAN BOY, a bulky and not altogether brilliant English boxer gets a shot when his trainer connects with a rich Italian promoter who can make it all happen...

But there are a few catches... First, everyone has to live at a rural lakeside estate where the fighter, Charlie Sullivan (Tony Wright), will prepare for future moneymaking matches...

Second and most important, Charlie needs to get along with the rich man's baby-faced, perpetually pursed-lipped wife Lorna, played by goading, manipulating, voluptuous and built-for-action with sparks-flying starlet Barbara Payton.

Basically, the first moment Charlie sets his smitten eyes on the sullen temptress, his edge is gone... As is his sanity, to his trainer's chagrin. Liken to, years later, when Burgess Meredith barks at Sylvester Stallone's dame-distracted Rocky Balboa: "Women weaken legs!" Nothing changes in the boxing game, it seems...

Nor do the stock ingredients of Film Noir as, inspired by the American-made POSTMAN ALWAYS RINGS TWICE, there's a naive, ugly, fat little rich guy... herein the lusty, drunken, jovial promoter... naive enough allow his wife to hang around a young and muscular, good looking stud: Leading to temptation for temptation's sake...

But what helps BAD BLONDE work beyond the cliches are the boxing scenes, filmed like you're watching each bout from the first row: in every corner. Meanwhile, the eventual murder attempt of Lorna's husband is wickedly intense, with some terrific and inspired perspective angles...

But overall, too much time wallows in soap operatic dialogue between the boxer and the title character, whose villainy was better when she had a few more rungs to climb.