L'homme à démasquer

Apart from the ingenious (albeit a tad implausible) plot-with-a-twist story, the most memorable aspect of this movie is the haunting solo guitar music played by Julian Bream. It follows the action at every twist and turn, and has much the same tension building quality as did the zither music in "The Third Man".

Richard Todd is the ultimate "officer & gentleman" type actor, but he is quite adept at turning on a sinister streak, as in this movie (and the earlier "Stagefright"). I think Anne Baxter overplays the hysterics just a little (a touch of the "method" creeping in perhaps). But then who am I to say how a woman in such an odd situation as her character finds herself would react? So maybe Anne does get it right.

That situation is a simple one plot-wise. A menacing stranger (with equally menacing friends) has intruded into a wealthy woman's life purporting to be her long dead brother. But is he or isn't he? She is quite sure he isn't. She turns to the police and to her Uncle Chan for help, but none seems to be forthcoming. End of plot...or is it?

I may be wrong (although I don't think so), but I fancy I've also seen the same footage of the "car careering down the mountain road" scene in another totally different movie, but for the life of me I can't remember the name of it. Maybe some one can help me out?

This little black and white thriller keeps the guesswork and the suspense right through to the last. Every time I see it I wonder just how Alfred Hitchcock would have approached it. Differently no doubt, but I don't think he would have done any better. It's just fine as it is. Watch it and see.

A movie you will always remember. Intriguing story, 'look behind you' thrills, 'face at the door' shocks, solid acting, a great 'twist in the tale' and haunting guitar music.

It may have been cheaply made and studio bound but it just goes to prove you can't beat a good story and ... a memorable tune. Enjoy, because they don't make them like that anymore.

Having long been interested in watching this well-regarded British thriller of the 'let's-drive-an-heiress-mad' variety, I can't help admitting I was somewhat underwhelmed by it; the reason for this, perhaps, is that we've seen this plot in countless other films so that, while one hoped that the treatment would rise above the overly-familiar premise, what we get here is pretty standard (read: low-key or, if you like, genteel) stuff. That is not to say the suspense of the piece – and the awkwardness that goes with it (the heroine trying time and again to convince the police that the man who says is her brother isn't really) – isn't effectively rendered, far from it. For one thing, the consummate professionalism and no-nonsense attitude of the people involved (despite the modest resources at hand) is redolent of classic British cinema at its best and the casting, while unlikely at first glance, is quite successful in the long run. Anne Baxter is the put-upon heroine, Richard Todd the smooth intruder (who goes so far as to acquire the daredevil driving skills of Baxter's allegedly deceased brother!), Herbert Lom the Spanish Police Commissioner (the film is set in picturesque Barcelona) and Alexander Knox appears as Baxter's apparently duplicitous uncle. All of this converges satisfactorily in the film's twist ending – and its real coup – which not only subverts everything that has gone on before, but would be too far-fetched to swallow had one not been sufficiently drawn into the intricate proceedings.

"Chase a Crooked Shadow" is a 1958 black and white film starring Anne Baxter, Richard Todd, Herbert Lom, Alexander Knox, and Faith Brook.

Baxter plays an heiress, Kimberly Prescott, living abroad, whose dead brother (Todd) turns up after being killed in a car accident a year earlier. Except he's not her brother.

He brings a woman, Miss Whitman (Brook) with him, sends Kimberly's maid away and brings in his own servants. Kimberly is desperate to reach her architect friend Chandler (Knox) who will know this man isn't her brother, but she can't reach him. And the local chief of police (Lom) seems to side with the fake brother.

Well, after all, he does have the correct ID, and the photo Kimberly keeps by her bed has suddenly turned into a photo of the fake!

The question is, what do these people want? Is she safe with them, or do they plan to get rid of her?

This intriguing, atmospheric drama is excellent, except I've seen so many of these things (it's one of my favorite genres) that I figured the plot out right away. Most people will simply enjoy the ride and the surprises.

Baxter looks lovely as the put-upon, desperate heiress, and the role calls for a gamut of emotions, all of which she delivers. Todd and Lom are terrific as well. Really excellent, with very good performances all around.

Although it has been suggested that the premise of Michael Anderson's film is based upon Josephine Tey's 'Brat Farrar', subsequently filmed by Hammer as 'Paranoiac', it actually bears a far greater resemblance to an American radio play from 1948 entitled 'Stranger in the House'.

Be that as it may the plot of this particular opus, although ingenious, is inclined to stretch credibility to the utmost but remains eminently watchable thanks to Mr. Anderson's customary craftsmanship and undeniable skill with actors. The films fabulous 'look' is courtesy of Anderson's favoured cinematographer Ernest Hillier who learnt his trade under Murnau and Lang which is especially evident in the interior and night-time scenes. Although slowly paced the director and editor Gordon Pilkington maintain the tension and during the car ride at high speed along a mountain road, the splicing of back projection and live footage is brilliantly done.

This is Richard Todd's third film for this director and although Mr. Todd is traditionally at his best in uniform he acquits himself well here as a man who is not exactly what he appears to be! Good support from Alexander Knox and Faith Brook whilst the immaculate Herbert Lom is, as always, great value.

As an ardent devotee of Anne Baxter I would have to say that as well as looking good enough to eat her portrayal of gradually mounting hysteria is wondrous to behold. A consummate professional who never gave less than her best, whatever her material.

A few years earlier Michael Anderson had been described by one critic as the most promising British director since Carol Reed and David Lean. Although he may not perhaps have reached the heights of those two, he did, to an extent, fulfil his promise.