The Girl in the Picture

As a result of the new satellite channels we are now able to view many British crime thrillers of the 40s and 50s which we all thought were consigned to the vaults for all time.So here we are afresh.The police speeding round in their Morris police cars with bells clanging:policemen disappearing into their Tardis like police box,conveniently letting the stakeout out of sight;and of course the intrepid crime reporter who is always one step ahead of the police.It is little wonder that the police ever solved any crimes unless the villain was handed to them on a plate.Incidentally as the credits are going through we see

an ABC cinema showing "Tarantula".I bet that it was a better film than this.Anyway the absurdities of the plot are entertaining enough.

Four years ago, a robbery went wrong resulting in a policeman being murdered and the killers escaped. However, a photograph turns up on news reporter Jon Deering's (Houston) desk. It shows the getaway car and a woman looking into it. Believing this woman holds the key to the case, Deering sets off to find her... unfortunately, in his investigations, he tips off the robbers, who then start a search, though be it more deadly, for the girl in the picture... Pat Dryden (Crawford)

I do like this as a premise for a story, however, I don't think all the possibilities were utilised well. This could have been a cat and mouse stalking game, what with the police, the reporter, and the bad guys tracking her down. However, the police don't get involved too much and the murderers are hanging on the reporter's coattails. This has the effect of making it less suspense-filled than it could have been?

The story and the acting are enough to make this an enjoyable one watch flick, though I would warn about the soundtrack. It's your basic standard full orchestration, but when you get to the climax the director decides to use the music to jar your nerves... and turns the volume up. This mixed with the old-fashioned police bells and sirens is enough to drive you mad. As for the direction, it's okay, there's nothing innovative in the camera work and the pace stays pretty steady throughout. Changing these would have helped to create a better atmosphere and tenseness to draw the viewer in.

The acting is pretty good and both Houston and Crawford do well in their roles. That said, there are moments when it gets a little melodramatic and the acting begins to feel a little hammy. Though these are few and have little effect on the film or story.

The one thing I did like about the story was the lack of a love interest. In most films, this is a must, even when it's not required and sometimes it even feels awkward. But there's nothing between Dryden and Deering, they are merely an eyewitness and a reporter. It was a refreshing change not to have the fawning doting of screen romance.

Though it's not the best thriller of its time it's still worth a checkout.

The usual nonsense with it's tongue in it's cheek about an eager young reporter hot on the trail of the big story directed by the up-and-coming Don Chaffey on half a shoestring with a thundering musical score on the soundtrack. The tinny studio scenes are compensated for by the occasionally vivid photography and vintage location work preserving for posterity a Hammersmith of trolly buses and bobbies on the beat.

In the title role Junia Crawford was plainly chosen for her striking looks rather than her acting ability, Patrick Holt plays a dapper detective with a carnation in his buttonhole, Maurice Kaufman is a very saturnine villain and a young James Booth appears uncredited as Donald Houston's nerdy press room assistant.

Newspaperman Donald Houston takes another look at a picture of a robbery gone wrong. There's a girl waving at someone in the getaway car. He goes in search of Junia Crawford, while Detective Inspector Patrick Holt smells his own boutoniere, waiitng for something to turn up.

It's a nice case of the newspaperman out-detectives the police, and doesn't quite get it right. There's nothing extraordinary here, but everything is done just about right, with a nice role for Paddy Joyce as the boy she left behind. The final do-up is well shot and edited, showing that a decent script, and decent work in all departments produce a good movie.

I am sure it was a B film when it came out and therefor lacking in finance. However the plot was OK and the pace of the film kept one interested till the end. Always nice to see London in the past.