Chase a Crooked Shadow

Chase a Crooked Shadow is directed by Michael Anderson and written by David D. Osborn and Charles Sinclair. It stars Richard Todd, Anne Baxter, Herbert Lom and Faith Brook. Music is scored by Matyas Seiber, with additional guitar by Julian Bream, and cinematography by Erwin Hillier.

A man shows up at Kimberley Prescott's Spanish villa claiming to be her brother. Trouble is is that her brother, Ward Prescott, died in a car accident a year ago...

The core formula for Chase a Crooked Shadow has been well mined over the years, only recently I myself viewed the quite excellent Hammer Films Production of Paranoiac, which treads the same ground as Anderson's movie, but there's a filmic style here that adds further atmosphere to the moody mysterious tone of the narrative. Thus, in spite of the absurdities and stretching of credulity, this is well worth seeking out.

Anderson carefully builds the suspense, ensuring that what we think we know may in fact not be the case. The twists and jolts are deftly handled and the finale is a delightful bolt from the blue. Along the way we are treated to a noirish canvas, where even though the film is shot on location on the Costa Brava, there's a Gothic sheen pretty much every where you look. The interior of the villa is complete with Grandfather clock, iron gate doors, odd light shades, statuettes and one of those staircases with balustrade, all of which is given maximum shadow effects by Hillier. The outside courtyard also serves the uneasy mood well, as does the stone beach house at the bottom of the hill, it should be idyllic, but fret and discord dwell there as well.

Cast are most effective, some have called Todd too wooden, but he needs to be restrained here, he is after all playing the character's cards close to his chest. Baxter, looking positively lovely, handles the mental disintegration process with great skill, Brook really exudes a Mrs. Danvers like menace purely with cold dialogue delivery and an icy stare, while Lom has authoritative presence as the police man being pulled both ways of the mystery. Top performers doing justice to a fine mystery story that is in turn offering some visual pleasures too. 7.5/10

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.

I have to admit, I am a sucker for a plot with a good twist. The problem is they don't grow on trees. Think of the films of recent years and I can only come up with two, "The Usual Suspects" and "The Sixth Sense". Both come into the category of being worth a second look to see how they work and both pass the credibility test with flying colours. There was that detective novelist of yesteryear, Agatha Christie. I lapped up practically every one of her tales as a teenager and a young man. She must have tried out every permutation of the twist imaginable, always giving the satisfaction that, even if you did not guess it, the person who "dun" it was psychologically the only possible candidate. After "Aggie" the detective novel was never quite the same again. By trying to write "real" novels of supposedly literary quality, most writers in this field seemed more interested in realism than clever twists with the result that I rather lost interest in the genre. Again there are very few good twist movies from the time I grew up with cinema. "Les Diaboliques" and "So Long at the Fair" remain excellent examples that give pleasure on repeated showings even with the element of surprise missing. Worth mentioning that, although not quite on their level, I actually discovered a good little twist movie the other day from the same period, "Chase a Crooked Shadow" starring Anne Baxter and Richard Todd. Anne Baxter is in much the same sort of predicament as Jean Simmons in "So Long at the Fair". Instead of her brother disappearing, Anne's supposedly dead brother turns up as someone she does not recognise. She spends much of the film trying to convince friends and police that Richard Todd is not her brother but of course no-one believes her. I suppose that ultimately "Chase a Crooked Shadow" lacks the sense of style of the others I have mentioned. Michael Anderson's direction is rather pedestrian although he does manage a couple of sudden character appearances that made me jump. I don't suppose I shall watch it again as I rather think it has given up all it has to offer but I would certainly recommend it to lovers of Grand Guignol as an hour and a half of mildly pleasurably viewing.

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.

Riveting psychological thriller. Kimberley (Baxter) returns to her isolated seaside villa following roadside death of her brother. Trouble is a guy (Todd) turns up claiming he's the dead brother, Ward. It should be easy to expose the imposter, she figures. Except it's not. His face turns up in family albums, while he seems to know all about their past as brother and sister. So what's going on. No matter what she does, even with the police inspector (Lom), she can't disprove his claim. Now she's beginning to doubt her sanity. But who will help her in this isolated seaside spot.

Actress Baxter has a well-known tendency to over-emote. Here, however, she delivers a carefully restrained and shaded performance in the pivotal role. Add British actor Todd as the impassive, slightly sinister, Ward, along with a tight suspenseful script that cleverly unfolds, and you've got a good slice of A-grade entertainment. Those who've noted a resemblance to standard Hitchcock fare are on target.

There're a few tense high spots—the reckless race over the seaside road, the sleight-of-hand with incriminating liquor glasses, Kimberlie's hide-and-seek escape from the house. But just as magnetic is the general mood of subtle menace, as we wonder exactly what's going on. And, oh yes, the twist ending that's something of a stretch, yet satisfying nonetheless. All in all, the movie's a neo-Hitchcock sleeper, well worth catching up with.