Un delitto nella notte

I always thought that Eric Portman was never much more than an efficient actor; rarely does he ever deviate from his usual, rather linear, style of performance. This one, though, is a bit different and he is rather good as the son of a hangman who, losing his grasp on reality, is obsessed with strangling young women. With the police (Roland Culver & a rather entertaining Stanley Holloway) hot on the trail, he falls for Dulcie Gary ("Anne") and for the first time, he has doubts about what to do next... Lawrence Huntingdon has done a decent job with a solid cast based on quite an intriguing Percy Robinson play - and the last twenty minute build to quite an exciting crescendo that takes more than a casual swipe at red tape and the "more than my job's worth" brigade... Certainly worth a go - you might spot Wilfred Hyde-White at Madame Tussaud's!

It's all very nicely done. I had barely, if ever, heard of any of the leads in this movie before I saw it. I was expecting a sloppy film noir set in London, but it was a pleasant surprise when the dialogue and the players were as good as they are. The story is tight, mostly, and there is real tension and unexpected humor. Overall, it was very effective.

I was particularly impressed with Eric Portman as Colebrooke. There was not much of a tradition playing sociopaths at this point in the movies. Of the few that had been portrayed, Cagney in "White Heat", for example, is much more histrionic and obvious than Portman is here.

I might quibble with some plot points and some really heavy-handed staging, but really this is much like middle Hitchcock without all of the psychological mumbo-jumbo to push it along.

This is like a Dostyevsky thriller, you know the murderer from the start, and you have the privilege of together with the script writer gradually intersecting him piece by piece, to get into the very heart of the matter of his complex psychology. Like Raskolnikov, he almost begs to get found out and be delivered, Eric Portman makes a fantastic performance by never sparing the poor murderer his tribulations, who can't help being what he is, he can't explain it and understand it either, and he even prays to God to be set free. The explanations of the malaise "being in the blood" is poor and does not hold. And then there are all the other persons getting involved, his poor mother above all, who never suspects her son to be as affected as his father until it is too late, and his girls, all innocents and suspecting nothing, and then the marvellous police officers, the meticulously methodical Roland Culver deliberately beating about the bush until he at last has evidence, and Stanley Holloway as his second, dutiful to the last. There are others also and precious details, the case about the cigar, the spectacular scenes at the fair and Hyde Park, and the towering thriller of the final settlement, almost reminding of "The Third Man" although being out in the open and in broad daylight. You feel the keen pen of Emeric Pressburger here in almost every detail, the famous partner of Michael Powell, who was the script writer of them and one of the best in film history. To all this comes the haunting melody of Mischa Spoliansky, a Russian composer who had to escape from Russia to Germany to later make his career in England with various film scores, but this could be his very best: actually reminding of Mario Castelnuovo-Tedesco's "Capriccio Diabolico" from 1935, expertly performed by Andrès Segovia among others. In brief, this very noir British thriller contains everything you could wish for, while the almost Dostoyeskian psychology is its major treat.

Wanted for Murder is directed by Lawrence Huntington and adapted to screenplay by Emeric Pressburger, Rodney Ackland, Barbara Everest and Maurice Cowan from the play by Terence De Marney and Percy Robinson. It stars Eric Portman, Dulcie Gray, Derek Farr, Roland Culver and Stanley Holloway. Music is by Mischa Spoliansky and cinematography by Mutz Greenbaum.

Nifty little thriller noir this, basically it finds Portman as the sinister Victor James Colebrook, a man with murderous instincts born out by bad seed lineage in his family tree. Can intrepid Chief Inspector Conway (Culver) nail his man before he kills yet again? Imperative since Victor has latched onto Anne Fielding (Gray), and although he is in love with her, he doesn't know how long he can contain his blood lust.

Thought to be influenced by a real life serial killer, Huntington's movie is very Hitchcockian in tone. Story unfolds by night in a London of dimly lighted foggy streets and dense shadowed parks, and by day it's the hustle and bustle of the city that provides a backdrop of false normalcy. As the tormented Victor goes about his way, leading his double life as a cunning member of society who dotes on his mother – and that of a strangler of women – the makers ensure the surroundings suit the persona.

A chapter of the story set at a carnival pulses with unease, a visit to a wax museum really gets to the heart of the evil, a murder sequence that is off camera strikes all the right terrifying notes, and a quite brilliant passage that sees witnesses come face to face with the killer in Conway's office is superbly performed by all involved. Then there is the finale that plays out at night (naturally) at the Serpentine Lake in Hyde Park. Wonderful!

Portman (A Canterbury Tale/Dear Murderer) was a British treasure, an actor whose career begs for reappraisal by classic film fans. Here he is right on the money as the complex sociopath who detests what he has become and even dangles clues for the police to follow. Yet he also slips easily into society with a measured calmness that is rather chilling. Portman quite simply is excellent. As are Culver and Holloway as the sort of coppers Britain could do with having more of these days!

With Pressburger as part of the writing team it's no surprise to find the script tight and the dialogue snappy, Huntington (The Upturned Glass) and Greenbaum (Night and the City) never miss the chance to accentuate the psychological tremors by way of smart visuals, and Spoliansky's music is devilishly spectral like. It probably could have been shorn of ten minutes and the Dulcie Gray/Derek Farr romance gets a little twee at times, but this is well worth checking out and deserves to be better known. 8/10

Don't be put off by the generic title. This is a film of subtlety and grace.

Eric Portman is perfect as the troubled protagonist. Dulcie Gray enchants as the vulnerable yet strong-willed heroine. And the supporting cast is uniformly excellent.

This is a variation on the Jack the Ripper theme. Someone is strangling young women, sending notes to Scotland Yard in advance. Ronald Culver is absolutely right as the chief inspector on the case.

The psychology may be painted with slightly broad strokes. But the acting elevate that: The pain felt by all concerned is palpable. We do not admire the killer but we have understanding of the person's behavior. The victims and would-be victims are touching. And the attempts by secondary characters to help are persuasive and upsetting to us.