Prigioniero della paura

Well filmed and acted. The cinematography is first class and enjoyable.

I found the story unfortunately a little too obvious (you know who did it immediately) and that it will be resolved in some way in the letter the murdered woman sent.

Also you have to suspend disbelief on numerous things...that the police wouldn't search the dead woman's room carefully (and find her love letters) is the most obvious one. There were others (it sure is easy to escape from British cops) but for what movies do you not have to suspend your disbelief a little?

It is too bad they couldn't have sharpened up the story just a bit because all the other values are excellent...acting superb camera work etc...

It rates a 7--it is leagues better than most of the quota British films of the 50s.

RECOMMEND

One of the best pieces of acting I've seen John Mills do is in this film The October Man. It takes part of its plot from Laura and part of it from the American film High Wall that starred Robert Taylor.

Mills as he did on so many occasions was the British average Joe who as it happens suffers a traumatic brain injury as a result of a train wreck. He blacks out and comes back with no apparent rhyme or reason and his treating doctor Felix Aylmer says that's likely to go on for some time. No reason though he can't resume normal life and employment.

Which he does and starts living at a boarding house with the usual amount of busybodies. He even gets a relationship of sorts going with both Joan Greenwood and Kay Walsh. But when Walsh turns up murdered, Mills is looking real good for it to Scotland Yard guys Frederick Piper and John Boxer.

Of course Mills didn't do it, but the fascinating thing with The October Man is that we do learn before the end who did do it and that individual confesses to Mills. The perpetrator is also a mentally unstable, but has learned to hide it. And it looks very much as if Mills will not be able to prove his innocence.

The focus of The October Man is on Mills's plight. It's one of the best pieces of acting I've ever seen from John Mills. He does you really do think he's about to get into a jackpot not of his own doing.

The October Man was very much influenced by Hollywood noir, although I'm sure our friends across the pond could say our noir films were influenced by this. It's a very moody cinematographic piece with expert use of shadow and lights. And John Mills is heartbreaking in the role.

Don't miss this if it is ever broadcast again on this side of the Atlantic.

John Mills is the "October Man" in this small 1947 British film costarring Joan Greenwood.

Mills plays Jim Ackland, a man involved in a tragic train accident that killed the child of a friend (actually played by Juliet Mills) he was returning to town. He suffers a fractured skull and is hospitalized for a year, as he has developed some brain damage. He blames himself for the accident and is haunted by it. It's actually not clear if he has actual brain damage - he acts perfectly normal and is totally functional - or has developed psychological problems. He leaves the hospital, takes a room at a boarding house and gets a job. His neighbor in the house is a pretty young woman (Joan Greenwood) who apparently is always having money trouble and possibly traded either downright sex or nookies for money with another resident of the house, Mr. Peachy (Edward Chapman). Meanwhile, she's seeing a married man. So one could say her life is complicated. Attempting to break the ties that bind with Mr. not-so-Peachy, she puts the touch on Jim for 30 pounds, and he writes her a check. The next day she's found dead in the Commons, the crumpled check nearby. Suspicion falls on Jim because of the check, the fact that he wasn't home that night she was killed and because of idle gossip started by Mr. Peachey. Meanwhile, Jim has fallen in love with his coworker's sister; though his old terrors return, he realizes that he needs to keep fighting and clear himself of the murder.

This is a good movie with a superb performance by John Mills and real British atmosphere which lends itself to the story and bumps up the suspense. As someone correctly stated, it is sort of a film noir but really more psychological in nature, which was all the rage after World War II. Very entertaining.

The October man is directed by Roy Ward Baker and written by Eric Ambler. It stars John Mills, Joan Greenwood, Edward Chapman, Kay Walsh, Joyce Carey, Catherine Lacey, Adrianne Allen and Felix Aylmer. Music is by William Alwyn and cinematography by Erwin Hillier.

Following a bus crash that killed a friends child that he was treating to a day out, Jim Ackland (Mills) suffers a brain injury. During his recuperation it's revealed to him that he is prone to amnesia, and even though he's suicidal over the child's death, he's released back into society. Setting up lodgings at a hotel and back to work as an industrial chemist, Jim is functioning well. That is until he financially helps one of the young lady residents of the hotel and becomes the chief suspect when she winds up murdered in a park. Jim has no recollection of committing the crime, but he was in the park…

Pulsing with moody atmospherics, this Brit noir – psychological - thriller showcases the best of John Mills and the higher end of the British noir splinter. It's a post war London that's cloaked in shadowy streets, of parks harbouring spectral mists punctured by bulbous lamps, a train station a foreboding but visually stunning presence. Jim Ackland is suicidal and nursing amnesia, yet the hotel where he lives, itself a relic of a London that time forgot, is full of human beings from different ends of the evolutionary scale. It's not a good place for Jim to be, a cuckoos nest of spiteful, suspicious, vengeful, lonely people, Jim in fact, in spite of his problems, appears to be the only sane one there!

There is no great "whodunit" to be solved here, some critics have bizarrely complained that the murderer is too obvious! Bizarre because the makers don't try and hide who it is, the film is firmly interested in the human condition, in how members of society react post a heinous crime, and of course how the afflicted antagonist fights his corner when confronted by hostility and his own mental confusion. Roy Ward Baker, for what was his first direction assignment, is more than up for the job of crafting a noir thriller. He has a good eye for the visual traits that often marry up with human feelings or behaviour, of course having someone of Hillier's class on cinematography duty naturally helps him through his debut production.

Splendid entertainment. 8/10

A wonderful old black and white British film, that has John Mills suffering from a head injury sustained in a bus crash, is the suspect in a murder mystery, when a girl that he has helped out with some money, has been found dead. Good performances from the whole cast and the audience is kept in suspense up to the final scenes as to weather the murderer will escape.