À vingt-trois pas du mystère

Passable suspenser despite a rather muddled script that doesn't acquaint us well with either the suspects or the plot developments. Thus the mystery part minimizes needed involvement. Johnson does an acceptable job feigning a blind man, but perhaps his biggest triumph is removing any sentimentality from Hannon's affliction. Thus the film never, to its credit, descends into the kind of treacle it so easily could have. In fact, Hannon remains understandably irascible throughout.

That tightrope struggle on the crumbling roof is a real nail-biter and the film's dramatic highpoint. But frankly the showdown in Hannon's darkened apartment lacks the skillful development of, say, Wait Until Dark (1967), to become memorable. The live London backdrop, however, adds a lot of interesting color and is well photographed. And though she's winsome as heck, Vera Miles is largely wasted in a part that many lesser actresses could have filled. Anyway, the movie's an acceptable time passer with a few good moments, but I'll bet it's not on Scotland Yard's Must-See list.

I just caught this movie on cable and I was drawn into it. This is a very Hitchockian type of thriller. Blind mystery writer overhears kidnapping plot, but of course no one wants to believe him except his 2 good friends, one who wants to marry him. It had a a few chuckles along with suspense. Particulary when playwriters friend/aid is sent on a epic chase through London following a suspect. Playwriter of course nearly gets himself killed trying to figure out the pending kidnapping himself. A few colorful characters a good mystery plot, a lovelorn but smart girlfriend, a bitter playwriter who no one takes seriously and a very clever twist makes a very good movie. I wish for more nice quiet mysteries like this.

Van Johnson's highly developed senses of sound and odor go a long way in 23 Paces To Baker Street. Although there's no reference at all to Baker Street's most famous resident in literature, Johnson turns out to be quite the detective himself although he had two premises initially wrong.

The blind Johnson is an American author living in London and keeping company with fellow expatriate Vera Miles. His only living companion is his valet Cecil Parker. While enjoying a drink at a nearby pub, he overhears what sounds like a criminal plot of kidnapping. Of course when he takes his suspicions to Scotland Yard they are understandably dubious.

Without sight and not being able to write apparently even braille, Johnson records the conversation on his tape recorder and goes over and over it.

What I liked about 23 Paces To Baker Street and Johnson's performance in it is that it shows Johnson making use of his other senses which in turn give him a kind of mission in life as opposed to being bitter about his fate. On the other hand he certainly has obvious vulnerabilities which the bad guys take advantage of. There is a harrowing scene in a bombed out building from the Blitz in which Johnson is nearly killed.

Young Natalie Norwood as an unwilling participant in the plot is also a standout here. And Patricia Laffan who was both Poppaea in Quo Vadis and the Devil Girl From Mars is equally villainous here.

Nice job all around with director Henry Hathaway getting great performances from Johnson, Miles, and the British cast supporting them.

On a visit to London, an apparently recently blinded American playwrite over-hears a highly suspicious conversation which may or may not mean a kidnapping... together with his manservant and former secretary he begins to try and put the pieces together.

For 1956 this is a surprisingly twisted piece, involving both highly unconventional villain and target/victim. Delicious shots of mid-50's London (check out Barker's of Kensington), a serviceable performance by Johnson, Miles decorative but wasted (except in one scene), the glorious Parker, and Winwood hamming it up to the hilt, all add up to an enjoyable sub-Hitchcockian romp. Yes it owes a debt to 'Rear Window', but then 'Wait Until Dark' owes a debt to this!

Philip Hannon is a blind playwright residing in London, during one of his R&R moments at the local public house, he overhears part of a conversation that suggests the vile kidnapping of a child. Getting the police force to take him seriously proves hard to achieve, so with the help of his trusty butler and his ex fiancée, Jean Lennox, he hopes to avert a dastardly crime.

Well well well, sometimes you can tune into a film not expecting much more than a B movie rush, yet just occasionally you get submarined and get a mysterious treat that deserves far better support than it actually gets. I have been delighted to log on to this films page and see that others have been entertained by this picture as much as myself. This is not ground breaking or even remotely original, in fact it does play out as some sort of cheap knock off idea that Hitchcock turned down in his sleep, but you know what? Sometimes a film can be great just for having an honest will to entertain the viewers with suspense and mystery being its main fortitudes.

Henry Hathaway directs and it's just another film to prove that as up and down as his career was, he was never afraid to tackle different genres, here, with the London location totally interesting, he manages to knit it all together with impressive results. Van Johnson has his critics, and it would be foolish of me to not concur that at times he has been wooden, but here as the blind Phillip Hannon, he shows that if given good enough roles he was more than able to rise to the challenge. Not one to revisit often for sure, but seriously recommended to those who like the genre and are stuck for a good film to watch. 7/10