Five Days

So Five Days is a somewhat formulaic murder mystery that still manages to be kind of entertaining. Clark is a likeable enough actor but I feel that he was a bit weak in this performance, and Chevreau was equally underwhelming. Carpenter and Gregory on the other hand were solid and helped to elevate the proceedings. The remainder of the cast and performances were serviceable. There is a bit of a plot twist toward the end of the film but rather mild and not really all that surprising. The twist wasn't really surprising at all because despite an apparently deep almost obsessive love for his wife, he treated her very poorly and showed her little respect. Not a great film by any means but still kind of fun to check out if you have 70 minutes and are curious.

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.

Dane Clark was one of the actors who went to England and made these films for Hammer, Kit Parker Films, etc.

Here he stars in "Paid to Kill," a 1954 film also starring Anthony Forwood, Paul Carpenter, and Cecile Chevreau.

Clark plays a businessman out of options when an important deal falls through. Desiring security for his wife, whom he adores, he arranges for someone to kill him.

We've seen this before, though it does contain a twist. However, it's pretty routine.

Clark was a John Garfield wannabe who had a prolific, if not spectacular career in films and television for nearly five decades.

Anthony Forwood, a tall, handsome Brit, was married to Glynis Johns before he became the manager and long-time companion of Dirk Bogarde. He actually made a few films in the '50s before working behind the scenes.

I like these black and white British mystery/suspense films. Some are better than others, but they manage to be entertaining.

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.