I Met a Murderer

I love James Mason and really enjoy seeing his early films when possible, thanks to channels like Talking Pictures and TCM etc. This one is no exception, however, it is spoiled somewhat for me by the loud and rather irritating music all the way through and so only seven stars from me.

If you are a true James Mason fan (as I am) here's a lovely film. I Met a Murderer (England) was literally an original home movie production released in 1937 when Mason was yet under 30 years old (27-28).

This curious and personal little movie was conceived and created by Pamela and Roy Kellino along with James Mason. It was not released in Great Britain immediately, having been rejected by Pamela's family who controlled a large segment of the film distribution business in England. (This caused a painful schism between Pamela and James and the Osterer family.) Only costing 5000 pounds to make, the cinemagraphic production values are honest yet nearly amateur quality. Most of the actors in the film were their friends and performed for nothing or small favors. The story, written by Pamela, is simple and straightforward with lots of naive, old fashioned character interactions and impulsive, hot-tempered, reflexive responses to the problems of the day (like murdering your nagging wife because she shoots the dog-what a concept!). James Mason is exquisitely handsome, and there are lots of dreamy close-ups designed to propel this young superstar into the desiring hearts of swooning bobby-soxers and young moviegoers. His smooth, commanding voice (James Masons' life long signature) is as potent at 28 years of age as it was throughout his life. James Mason and Pamela Kellino were, at this time, very personal and intimately close friends. Three years later Pamela would become Mrs. Mason and the rest is history.

I can't say this is a great movie, but it is an early short feature that shows the fiery intensity of a young James. His willful intensity portrayed here would characterize his appeal for much of his acting career. Indeed, he was the consummate screen actor, perfecting his trade tirelessly until the day of his death. The only complaint I have regarding this little gem is that the sound score is the silent film "follow-the-action-style" musical accompaniment with lots of rousing piano and jump-out-of-your-chair giddyup that can be annoying to modern listeners. Get a copy of this film if you can and enjoy the roots of one of the world's finest actors.

The music is is far too loud and there is a general clumsiness about the production. The prolonged twists and turns of the plot eventually become rather exhausting. But it is nevertheless a fascinating experience to see the young James Mason in action and to note that the role he plays foreshadows not only his performance in 'Odd Man Out' (1947) but also his final moments in 'A Star Is Born' (1954).

My father was the stunt double for the scene were James Mason has to fall of a horse, my Father is 94 and and was an expert horseman. I have never seen him ride as he gave it up sadly when I was little, so it is a revelation to see him in action. Also the farmhouse featured heavily is my Grandfather's farm at Booker near Marlow which was demolished before the war. Again it's lovely to have it immortalised on film. My father is a very humble man and never one to boast or brag so I have requested a stunt credit for him as a tribute to his skills a young man. I am a filmmaker myself and I love our deep-seated history in the film business, we should be proud of our heritage and this is a classic example of a murder/thriller in the same vein as he first 2 version of the 39 steps. A jolly good film Tally Ho!

A semi-amateur production costing just £4,500 combining the visual beauty and Soviet-style editing of 'Earth' with the fatalism of 'La Bete Humaine', as well as the visual beauty of an unbelievably young and handsome James Mason against the unbelievably handsome backdrop of rural Buckinghamshire; doubtless all built up today.

Director Roy Kellino, being "an experienced cameraman with already the eye of a director" turned in a beautiful film which according to Mason was shot silent because on a such a tiny budget it "must perforce be more of a silent than a sound film". The burden of holding the film together thus fell upon Eric Ansell's music, and Mason later declared "I was deeply embarrassed by the loudness of the music, while lots of things that I did in it as an actor embarrassed me even more".