Blind Corner

William Sylvester is a blind man. He's also a successful composer of pop hits, because serious music doesn't pay enough. He's married to Barbara Shelley, who's carrying on an affair with Alexander Davion, a painter who's barely keeping his head above water. Miss Shelley refuses to leave her husband, because she's grown used to the luxuries he can buy her. She says that if Davion kills Sylvester, he can have her and Sylvester's half million pounds. He says that he draws the line at murder. However, Sylvester's friend and producer, Mark Eden, lets him know he's spotted the two of them at a cozy restaurant, so Miss Shelley has to lie her head off to assuage her husband's supicions, and cut off Davion.

It's a nice script, with a couple of twists in the third act, and well acted, particularly by Sylvester. A couple of nice pop numbers by Stan Butcher and Syd Cordell fill out the ambience, and Elizabeth Shepherd is present as Sylvester's secretary, who loves him hopelessly. Director Lance Comfort does a good job with a strong script.

This is a really excellent black and white film from 1963... everything top notch... script, story, acting, camera... a really good watch. Enough said, no spoilers here... well worth a watch.

I thought the story line was well thought out by the writer, dornford Yates. Maybe not one of the best he ever wrote, but i really liked it because my father-in-law, Frederick Munday, was in it. Although he never had a speaking part or was recognised in the credits, he was the policeman that led the murderer off to serve his sentence. He appeared, as an extra, in many movies including those magnificent men in their flying machines. He died on 4th April 2006 aged 77. Also known in the U.S. as man in the dark, There were times during the film i wished that they could enlarge on the characters a bit more and i felt the story line quite flimsy, William Sylvester and his character, Paul Gregory,made up for it. A very watchable afternoon matinée movie.

The blind man can be an "excellent "victim in the thriller genre : see David Eady's "faces in the dark" (1960 )and Henry Hathaway's " 23 paces to baker Street "(1956): "blind corner " borrows the "in the dark,we are equal " from the latter (a trick which would be used again in "wait until dark" (1967))

That said ,the screenplay is not as exciting as the aforementioned movies : it drags on in the first part ,and the syrupy songs are filler .But it hits its stride in the second one,full of sudden new developments ,with a good cast including excellent William Sylvester ,people outside England recall as "2001" doctor Floyd. He is very convincing as a blind man who's got some kind of "sixth sense" .

BLIND COMFORT is an engaging little B-picture that acts as another version of the 'blind person in peril' sub-genre. It's a film that benefits from fine leading performances from William Sylvester - utterly convincing as the blind and embittered husband - and Barbara Shelley as his adulterous wife. As is so often the case with such films, Shelley is desperate to get her hands on her husband's fortune so concocts a murder plot with the aid of her lover.

Most of the film takes place in a single location, a lavish penthouse apartment with a balcony overlooking the city. I wonder if this was an inspiration for the recent B-movie PENTHOUSE NORTH which had almost exactly the same setting and was also about a blind person terrorised in her own home.

The script is well written and well paced, with plenty of material to fill up the running time. It manages to successfully pull the rug out from under the viewer's feet on at least one occasion, and even if you think you know how this one's going to play out, there are still surprises in store. I found that Sylvester gave a very sympathetic performance without ever overdoing the sentiment, while Shelley plays a very different kind of character from those we know in her Hammer pictures. I found her completely despicable, the most horrible character of her career. BLIND CORNER was directed by veteran director Lance Comfort, who would go on to direct Sylvester again in the following year's horror picture, DEVILS OF DARKNESS.