Five Days

Dane Clark often played ambiguous characters (check the so called well -meaning brother-in -law in " without honor"). Here ,going bankrupt, he wants to die so his wife can collect the insurance money :but he makes no bones about blackmailing an old friend he formerly helped to escape from the gallows. His killer has to do away with him in a way it looks like an accident.

But a new associate retrieves the situation :now the factory is thriving again and there's no more reason to sacrifice one's life. But the "paid to kill" man seems to have disappeared , and there's no way to get the message "the deal is off" through .Soon the industrialist is victim of a murder attempt .But the killer might be someone else who takes advantage of the situation ; when you are wealthy and married to a pretty wife,you have other enemies you do not suspect.

Good film noir ,in a sticky atmosphere (the sauna!) , with enough unexpected twists to sustain the interest throughout.

I'd always been interested in catching some of the films from Hammer's pre-horror boom; so far, the only title I'd come across was PHANTOM SHIP (1935) which was made a couple of decades before the studio reached its peak period but which, presciently, starred one of the era's horror icons – Bela Lugosi.

Anyway, Hammer apparently made a whole slew of ultra low-budget noirs featuring either faded American stars or second-tier leading men. This one, then, happened to be shown on late-night Italian TV and, knowing it's been released on DVD by VCI, I made it a point to check it out. It turned out to be a decidedly modest but not unpleasing little film: the star in this case is Dane Clark (not exactly top rank, you see) and, as I lay watching, felt that he wasn't really noir material – an opinion which, incidentally, I would change the very next day when I saw this same actor in the superior French-made GUNMAN IN THE STREETS (1950)! The plot, though far-fetched, is engaging: Clark's business fails and, in order to provide for his wife, proposes to have himself killed so that she can collect on his insurance; soon after, his fortune unexpectedly turns and he desperately seeks to stop his killer from carrying out the assigned task!

Even if I watched the film dubbed in Italian, the London settings and character types offer a whole different atmosphere to the American noirs – the same thing goes for the French locations of GUNMAN IN THE STREETS – and this does help keep one's mind off the measly production values. The denouement provides a few surprises – Clark's wife emerges a villainess (which allows him free rein with the devoted secretary who had really loved him all along), the attempts on his life turn out not to have been done by the person he paid expressly for that purpose – which elevates the whole slightly than would otherwise have been the case. Besides, the film is short enough at 75 minutes not to overstay its welcome or allow the proceedings to slip into tedium. By the way, the original British title of this one is FIVE DAYS (the period of time over which events take place) but got changed to the more evocative PAID TO KILL for the U.S.

For the fifties decade, this plot was very surprising, inventive, exciting. Now, in 2023, we can say that this scheme has been used many times in many suspense thriller plots. Unfortunately, the ending is always more or less predictable. Nevertheless, this littme UK thriller remains outstanding, not very long, pullled by a stong acting and cast. As in many features of this period, some US actors were hired for British productions. I recommend this one for any thriller buff, no matter the B production standard. Keep in mind that a B movie is not necessarily a lousy one, on the contrary: a lesser budget permits many daring and offbeat stories. This one is the best example.

Looks like budget-minded Lippert productions got more bang for their buck in England than in the US. This is a well-produced crime drama, with a tight script and some good touches. Nevill's (Clark) a not very likable business bigshot, (note that he treats his board of directors with uncalled for abruptness). Trouble is his latest big deal is failing, so, in desperation, he arranges his own death. That way his wife Andrea can collect insurance and be taken care of. His plan is to hire associate Paul to do the job. But surprise, the business deal suddenly goes through and Nevill's vindicated. Now he's got to stop Paul from carrying out his part. Nonetheless, it appears that Paul's gone away. Yet, surprise, somebody really is trying to kill Nevill. But if it's not Paul, who is it and why.

Clark delivers an exemplary performance. Notice his subtle facial expressions to fit the mood. There're some good touches, like the suspenseful father in the park or the colorfully blustery Hyson, neither of which affects the plot but does add atmosphere. And catch that very last shot, suggesting that Nevill's obsession is not yet spent, despite the attempts to kill him, while poor Joan comes trailing after. It also suggests a sneaky subtext that might otherwise go unnoticed amid the murder plots. To me, the movie's much better than expected for a Lippert production. The movie's got mystery, suspense, and atmosphere, plus Clark's motivated turn. So catch it if you can.

The next film covered by the "House of Hammer Podcast" was "Five Days" or "Paid to Kill", if you prefer. The version I watched was the one currently available on Youtube and there were some sound issues, at the start of the presentation particularly. The last few films have essentially been murder mysteries cloaked in different skins, so I liked this one for doing something different.

James Nevill (Dane Clark) is a businessman managing a London based Investment firm. Having gone in big on a deal that goes sour, Nevill strikes a deal with an old friend Paul Kirby (Paul Carpenter), from shadier times, to kill him at some point in the next five days, so that is wife can collect on the insurance payment. However, the business deal undergoes a last-minute change and proceeds securing the finances of the firm going forward. Nevill tries to locate Kirby, to call off the deal but he is nowhere to be found. He must now try and find his friend and explain the situation before he finds him.

A second film for Dane Clark, having been in "The Gambler and the Lady" which I watched last year and in which he co-starred with Anthony Forwood, who appears again in this one. I thought Clark was a bit better in that film though, where he portrayed a former gangster struggling in society circles, than he was here. There's a touch more nuance required for this one and I never really bought that Nevill loved his wife enough be so practically suicidal. He also seems to be pushing his wife to the possibility of moving on (with Forwood) after he's gone too, which again is a theme from an earlier Hammer film.

The film is also notable for having Charles Hawtrey in a small non-speaking role.

Whilst I wouldn't, in any way, describe "Five Days" as a lost gem, it was watchable enough to hold my attention, despite some less the great performances, and the arrival of a different plot was welcome.