उपयोगकर्ता समीक्षाएं

The Criminal (AKA: The Concrete Jungle) is directed by Joseph Losey and written by Alun Owen. It stars Stanley Baker, Sam Wanamaker, Margrit Saad, Patrick Magee, Grégoire Aslan, Rupert Davies and Laurence Naismith. Music is by John Dankworth and cinematography by Robert Krasker.

Johnny Bannion (Baker) is an ex-con who's taken part in the robbery of a racetrack but is caught and sent back to prison; but not before he has time to bury the cash from the gig. Back in prison Johnny is keeping the cards close to his chest but finds there are big crime forces wanting a piece of his action. With plans afoot to "twist" his arm, and his girlfriend kidnapped, Johnny knows something is going to have to give...

All my sadness and all my joy, comes from loving a thieving boy.

Once tagged as being "The toughest picture ever made in Britain", The Criminal obviously seems tame by today's increasingly over the top standards. Yet it still packs quite a punch and shows the very best of Messrs Losey, Baker and Krasker.

In some ways it's a strange film, the pace is purposely slow and the narrative is bolstered by bouts of hang wringing tension, where periods of calm come laced with a grim oppressive atmosphere, but there's often electricity bristling in the air when Bannion (Baker is magnetic and brilliant as he apparently models the character on Albert Dimes) is holding court. Even when on the outside and feeling the love of a good woman, Bannion exudes a loner like danger, he's tough but being a hard bastard can't break him free from the shackles of his life. We know it and you sense that he himself knows it, and it gives the film an exciting edge not befitting the downbeat tone of the story. Characters here have not been delivered from happy land, you will struggle to find someone here who isn't nasty of heart, bad in the head or simply foolish. Inside this concrete jungle it's a multi cultural hive of emotional disintegration, and at the core stirring the honey pot is one Johnny Bannion. The film makers here are all about pessimism, self-destruction and the battle against the system and the underworld, right up to (and including) a finale fit to grace the best noirs of the 40s.

Losey and Krasker ensure the prison sequences are stifling, the walls close in, the bars and netting are unsettling and close ups of the odd ball assortment of crims and warders strike an incarcerated chord, visually it's an impressive piece of noirish film. But it's not just about shadows and filtered light, the director has skills aplenty with his camera. A kaleidoscope shot has a delightfully off kilter kink to it, while his overhead filming and pull away crane usage for the frosty cold finale is as memorable as it is skillful in selection. Musically the pic begins and ends with the soulful warbling of Cleo Laine, the tune is a Prison Ballad (Thieving Boy), and it's tonally perfect, while Dankworth and his orchestra provide jazz shards that thrust in and out of the story like knowing accomplices to fate unfolding. Set design is superb, especially for the recreation of a Victorian prison which is impressive and makes it easy to not lament an actual prison location used, while the supporting actors are very strong, particularly Magee (Zulu) who excels doing sneaky menace as Warder Barrows.

Flaws? Not any if you don't actually expect the toughest film made in Britain back in the day (though it was banned in some countries!). I do wonder why Baker had to be an Irish character and not just be Welsh and therefore do his natural Welsh accent? And if we are are being over critical we could suggest there are some prison stereotypes that even by 1960 were looking frayed around the edges. But ultimately this is tough stuff, a gritty and moody piece of cinema with class on either side of the camera. 8/10

When I was in Hollywood late last year, I managed to watch Losey's classic sci-fi THESE ARE THE DAMNED (1963) - surely Hammer Films' strangest release; at the time, while I had been sufficiently impressed with the film (despite the poor quality of the print I came across but, at least, it was the full-length version!), I had also found the experience somewhat overwhelming.

I couldn't quite explain why I felt this way but, having now watched this contemporaneous title (which, in comparison to the fanciful apocalyptic narrative of THESE ARE THE DAMNED, is a relatively straightforward crime drama of the prison/caper variety), I realized that it was due to the essential stylization of Losey's mise-en-scene which, apart from giving a heightened sense of reality to the already intense proceedings, also rendered the film guilty of a certain pretentiousness (marking virtually every scene) not found in similar genre efforts, certainly British-made - demonstrating a definite change of attitude in cinema towards a greater sense of artistry but also more lenient censorship (the sex and violence in this particular film, while not especially graphic by the standards of even a few years later, are clearly more pronounced than in the previous decade)! Still, to be honest, all of this actually serves to make the film doubly arresting - particularly during this gritty phase of Losey's career (his statelier later work grew increasingly more opaque).

What a cast! Stanley Baker was never better than as the almost legendary con whose individuality makes him an outcast even among his own kind, and he's surrounded by some very fine actors - most notably Sam Wanamaker (as his contact on the outside but who harbors ambitions of taking over the gang), Patrick Magee (his first impressive role as a corrupt and menacing prison warden), Gregoire Aslan (as the ageing mobster who rules the underworld even from inside the penitentiary and to whom everyone - Baker included - must acquiesce) and Nigel Green (as Baker's double-crossing associate). Surprisingly, the supporting cast is peppered with faces familiar from several horror films like Rupert Davies (WITCHFINDER GENERAL [1968]), Edward Judd (THE DAY THE EARTH CAUGHT FIRE [1961]), Murray Melvin (THE DEVILS [1971]), John Van Eyssen (HORROR OF Dracula [1958]), Noel Willman (THE KISS OF THE VAMPIRE [1963]), Kenneth J. Warren (THE CREEPING FLESH [1973]) and Patrick Wymark (THE BLOOD ON SATAN'S CLAW [1971]).

Speaking of which, Hammer Films stalwart Jimmy Sangster reportedly contributed to the excellent screenplay (actually credited to A HARD DAY'S NIGHT [1964] scribe Alun Owen!). The film's remarkable and claustrophobic black-and-white cinematography is by the great Robert Krasker (Oscar winner for THE THIRD MAN [1949]). Another big plus is Johnny Dankworth's jazzy score, featuring a recurring ballad sung by Cleo Laine.

While essentially character-driven, the film's seedy milieu and sadistic streak allows for a number of vivid sequences (though the race-track robbery itself is rather thrown away!) including the wild party held at Baker's flat on being released from prison (highlighting sexy Margit Saad who subsequently replaces Jill Bennett as Baker's moll), the equally chaotic prison riot, Baker's escape from the penitentiary (having been betrayed after the robbery and recaptured) and the inevitable showdown with the ruthless Wanamaker.

Unfortunately, apart from the theatrical trailer and admittedly extensive talent bios for both Losey and Baker, the Anchor Bay DVD is a bare-bones affair; pity neither of them is around anymore (Baker died far too young in 1976 at age 49 and Losey, already in his 50s when the film was made, followed him in 1984) to have been involved in this otherwise sparkling edition!

Having watched THE CRIMINAL and, more recently, Losey's SECRET CEREMONY (1968), I've rekindled my interest in this important director's work: I have four of his films as yet unwatched on VHS - THE BIG NIGHT (1951), THE ROMANTIC ENGLISHWOMAN (1975), DON GIOVANNI (1979) and LA TRUITE (1982) - and still need to pick up several of them on DVD - EVE (1962; unwatched...if I can find a copy of the Kino disc which includes two different cuts of the film, neither of them the complete 155-minute version!), THE SERVANT (1963), KING AND COUNTRY (1964; unwatched), MODESTY BLAISE (1966), ACCIDENT (1967), the upcoming THE ASSASSINATION OF TROTSKY (1972; unwatched) and GALILEO (1975; unwatched).

Director Joseph Losey's aim was to portray the ups and downs of a criminal life. This might be a common theme nowadays but back in 1960 not nine out of every ten films in the video store was exactly like this. First of all there's a much more unusual story, with three films for the price of one: a robbery, a portrayal of prison life, and a gangster romance. This could be a disappointment for fans of the crime genre. As many outdated acting mannerisms of that time, like the demonstrative walking back after a blow, can be a let down for some.

But the film is actually pretty exciting, and most of the credits go to Stanley Baker, who plays Johnny Bannion with an intense style that would become more common in the seventies. Always cheeky, willing to play the highest game, independent. Baker was known having friends in London's underworld. One scene in particular makes him a badass: two gangsters come into his cell with the purpose to rig him but it's Bannion who beats them up. Bannion probably would have lead a Colombian cocaine mafia empire just fine if he had been born a little later.

The Criminal is not everyone's cup of tea because of its script, but is definitely a great watch if you like realistic, vicious atmospheres in movies. The jazz music by John Dankworth reinforces the chaotic atmosphere brilliantly.

We've all seen this story of convict sprung, goes straight back to old tricks and sent straight back to the can, receiving a warm welcome from all his former fellow inmates AND a spirited reception from prison direction, delighted to have the opportunity to execute all "corrective" measures at their disposal after he'd manipulated and humiliated them for his own purposes last time he was inside.

BUT you've never seen it in such beautiful B&W cinematography

OR with such a smart script with flashes of wit and menace in such quick succession as a strobe light.

AND what a large cast of top-notch actors creating such fully fleshed-out characters with such economy of physical expression and spoken lines.

One to watch

Stanley Baker is better known for films like Spartacus and Zulu, but this is really his zenith as a film performer. This gritty, underrated crime drama can hold its own with any film noir piece made in Hollywood. A British production, where the convicts actually wear suits and ties in prison (really) in 1960, have an array of activities, such as darts (couldn't they use those for weapons?), TV, musical instruments, weekly church services, and three square meals a day. This is in addition to the exercise yard. What are these guys complaining about? I could with a week of that myself during this COVID crisis. This film is as raw as it gets; with no silver linings or half-measures. A real gem in the rough.

Joseph Losey does a superb job of directing cinema-verite'-style from start to finish. From the moment Cleo Laine sings Thieving Boy over the opening credits, I knew I was in for a special experience. Stanley Baker spent a career delivering some of the most haunting criminal characterizations of all time, and this is one of his all-time best. Patrick Magee is memorable in a minor supporting role. An incredible gritty film.

Joseph Losey's film has acquired something of a reputation since it's release way back when, though it's hard to see why. Stanley Baker playing the eponymous villain is convincing enough but the script and characterisations are weak. This is particularly evident in the prison scenes which comprise most of the film. The incarcerated are stock characters so beloved of British films of this period and they perform true to type (ie terribly). The exception is one of Beckett's favourite actors Patrick Magee, his sinister prison guard is a real stand-out. Aside from his performance the other outstanding feature is the photography from Robert Krasker which, ironically, suggests what a great film this could have been.

Stanley Baker's dodgy Irish accent strikes the only false note in Joseph Losey's hard-nosed crime drama. A lethal combination of charm, guile and brute force makes jailbird Johnny Bannion the top dog in B block. Once he's released, Bannion is plunged straight back into a world of free-flowing booze, casual sex and cool jazz in his well-appointed bachelor pad. But there's no thought of going straight as he plots a lucrative racetrack heist with the reptilian Carter (Sam Wanamaker). The intrigue here lies not in the heist itself but in the web of betrayals that follow, as Losey and screenwriter Alun Owen build an authentic portrait of the criminal underworld on both sides of the prison wall. There's no hint here of the cartoonish Swinging London and stereotypical cockney villains that continue to plague British cinema. Robert Krasker's photography lends a stark beauty to the pollarded trees in the prison courtyard and Johnny Dankworth's score, punctuated by a mournful Cleo Laine ballad, is superb. With its harsh, sweaty depiction of prison violence, this is a million miles from the upper-class shenanigans depicted in the director's later films like The Servant and The Go-Between.

I have many movies from this great director who was stigmatized by his own beliefs on communism, MacCarthy banned him, he was filming at Italy, went to England, there he suffered a deep depression, he works under psedonyn, until Stanley Baker demands Losey as director and becomes one of his favorite pictures, unusual plot, Johnny Bannion (Stanley Baker) a clever thieve is about to leave the jail, he has already planned for three years a robbery, 40.000 pounds at horse race, their old partners are in, however the things changes, the Boss wants 20 per-cent now, Bannion refuses to pay, after the successful robbery he was denounced by his former partners, back on jail he fells that has make a deal to escape, London on early sixties, plenty of women on a private club, the mob are organized to clean money, Bannion faces the system and has to pay a high price afterwards, magnificent atmosphere at prison, the hierarchy rules there, the escape is noteworthy, Baker in his best role ever, a near masterpiece from Losey!!

Resume:

First watch: 2019 / How many: 1 / Source: DVD/ Rating: 9

Stanley Baker is convincing as a brutal villain, but it looked to me that he could easily have been nobbled by several of his prison inmates. There's a lot of talk that attempts to sew the plot together, but not a lot of action - and I don't mean fights and car chases, I mean the difference between taking the audience on a cinematic journey as opposed to being told what's happening by the dialogue. There's too much telling and not enough showing. Several of the set-pieces in this essentially crime/gangster genre story are clumsily handled. The robbery is poorly covered: we don't know what the plan is, or what the perpetrators are up against, plus several opportunities for high tension are muffed. In the prison, the conflicts are fairly well developed and realised, but often they're stagey or overwrought. Gregoire Aslan is an excellent 'capo' and there is some good character work by the supporting cast, but there is also some woeful acting. The general statement of this film is that this is a grim, bleak, violent society in which ordinary man is always imprisoned - that part works, but as a drama or a thriller it's clunky and uneven. An under-developed script, some patchy, but energetic direction, and a generally excellent job of anamorphic lensing by Aussie Robert Krasker.

No doubt about it, Stanley Baker is a riveting screen presence. He commands just by appearing. Maybe it's that patented jut-jawed intensity. In my little book, he's the main reason for catching up with this British crime drama, which otherwise is a disappointment considering that noir-master Joe Losey is in charge.

Admittedly, I lost some of the British dialogue because of my American ears. Nonetheless, there's a one-note monotony to the visuals, the characters, and the storyline-- no one can be trusted, life is grim, and the visuals rub our nose in the ugliness. Still, the movie is titled Concrete Jungle, not Concrete Vacation, so as far as the marquee is concerned, there is 'truth in packaging'. Nonetheless, there's little suspense or tension in the screenplay, an odd outcome for a crime drama. Events simply follow on one another without much structural development.

Why the robbery itself is passed over is puzzling since that would have provided needed suspense. My guess is that a detailed depiction would have followed too closely on the heels of Kubrick's superb racetrack robbery in The Killing (1956). But, whatever the reason, both the crime and the aftermath are dealt with in unimaginative fashion.

Losey does keep things moving in fast-paced style, while Wanamaker's slippery gangster represents an interesting character. Nonetheless, the result lacks the compelling social ambiguities of his better American films. All in all, I agree with reviewer BOUF—the result is "clunky and uneven", with an "under-developed script". Considering the source, I expected better.

Stanley Baker is effective here as the smart-assed hoodlum "Bannion". Recently released from prison he and some associates cleverly devise a plan to relieve a race track of it's £40,000 takings. He hides the loot in a remote field but his cockiness leads the police easily to his door. Re-incarcerated, he soon finds that it's not just the police, but his erstwhile colleagues - led by the no-nonsense "Carter" (Sam Wanamaker) who want the money! Things are distinctly dangerous for the man behind bars and so getting out quickly and retrieving his loot becomes the order of the day. Joseph Losey paces his direction well here and has assembled a strong cast of supporting characters - not least Patrick Magee as the shrewd and ruthless prison warder "Barrows" and Grégoire Aslan as the duplicitous "Saffron", as this story of greed and brutality gradually edges towards a denouement that is exciting and - to a considerable extent - rather fitting. It's maybe a bit wordy at times but Baker manages to exude a sort of nastiness/decency combination that works well for ninety minutes. It is well worth a watch and is better than many in this British noir genre of the late 1950s.

The blacklisted Joseph Losey whose loss to the American cinema was the United Kingdom's gain took his knowledge of American prison films to fashion this gem. Starring in Concrete Jungle is the premier British tough guy Stanley Baker in a role that in America, Humphrey Bogart might have been given first crack at.

Whoever said there was no honor among thieves must have run with Baker's mob. When we meet him, he's a day away from his release from one jail sentence, but not until some prison justice is meted out to a newly arriving Patrick Magee with whom Baker has a grudge over a previous job.

No sooner is Baker out than he's back in a nice caper concerning the robbery of a racetrack. But thieves being what they are somebody rats and Baker's back in stir. But not before he's buried the loot and doesn't tell anyone, the same thing he was mad at Magee for.

It's a scurvy lot Baker has for friends, I haven't seen this many bad people hold a viewer's interest without there being any redeeming good people in a film since I first saw Goodfellas. But like Goodfellas there is something fascinating about Baker and the whole crew, people like Sam Wanamaker, Gregoire Aslan, etc. Even the cops like Laurence Naismith aren't especially heroic. Naismith admits as much, he's just got a well developed system of stool pigeons which any cop worth his badge has.

Baker really dominates the film, the United Kingdom hasn't produced an actor like him since. Concrete Jungle is a classic example of his tough guy appeal and a great introduction to him.

And you'll love Cleo Laine's singing of A Thieving Boy at the beginning and end of the film.

The Cleo Laine track, the odd behaviour of Scout dancing about, tha arty jazzy track, Jill Bennett's stage hysterics, the West Indian singing calypso (fashionable at the time) to a guitar in prison(!?) , the party, all create an air of unrealistic artiness. The criminals are half baked - just remember when this was made the Krays were roaming London creating mayhem. Losey could have studied them and then really scared us.

Following in the footsteps of 'The Asphalt Jungle' and 'Rififi', this was originally commissioned by Hammer and then taken up by Merton Park. Raw even for Joseph Losey, veteran cameraman Robert Krasker in glacial black & white does for London in winter what he did for Vienna eleven years earlier in 'The Third Man', and Losey employs a jazz score by Johnny Dankworth and a ballad sung by Dankworth's wife Cleo Laine to create mood as he later did in 'The Servant'.

An amazing cast includes the screen debuts of Patrick Magee and Tom Bell.

A haunting and unique depiction of prison and criminal life in Britain in the early 1960s. 40 years after its release I still wish to see this film. Before the Great Train Robbery and the prison riots of more recent times the violence and tension portrayed in the work seem to strike a very deep chord which anticipates these later events.

British Losey film that is as tough as they come. Don't be put off by the fact this is largely set inside a prison, because the scenes are so well done. A lot of familiar faces here and everyone contributes to make this such an uncompromising and brutally believable affair. Stanley Baker is, of course, brilliant throughout and Patrick Magee worryingly effective as a prison officer with a purpose and not a little malice. The pacing is extraordinary, especially for a film of this time, and rips through from beginning to end. Many prison sequences but also a few other interiors and some very fine canal side and snowy open field scenes. Marit Saad is terrific as the potential love interest but it is the assured direction of Losey and presence of Baker that ensure this is such a solid film. Music of John Dankworth and a song from Cleo Laine help things along too. Excellent.