Criminali sull'asfalto

This film was produced in colour in 1956 at a time when Britain was just emerging from post-war austerity and pleasant motoring trips to the continent were becoming a possibility for the British middle class. The film was made on location and Ralph Thomas the director is clearly anxious to show off the delights of Florence and the Italian lakes. In fact the whole thing is like a Peter Stuyvesant cigarette commercial. It includes a great deal of motor racing from an era when 160 mph racing cars were raced on public roads with huge crowds lining the routes and minimal safety considerations (fits in with the ciggies I guess). The plot is pretty mechanical, the acting, except for Stanley Baker, who was incapable of a bad performance, is pretty routine and the script merely servicable. I have to confess to liking James Robertson Justice, the overbearing boss from central casting, but actually the cars (Aston-Martins) had the meatiest roles. The participation of Aston Martin no doubt accounts for O'Donovan trying to burn some DB3 bodyshells in the opening sequences. Well, it was all a great excuse for some jaded Rank and Aston-Martin employees to catch some Italian sun and one can only hope they enjoyed themselves.

What begins with an edgy heist by square-jawed tough guy Stanley Baker as a hired thief provides CHECKPOINT the only hint of not only a criminal but being a crime film at all...

Otherwise featuring cocky race-car drivers led by handsome Anthony Steel and younger Lee Patterson, standing around a track discussing an upcoming Italian race when Steel's not romancing ingenue Odile Versois...

Meanwhile a temperamental Baker waits for the next step since, after killing several guards in the initial heist... and having been hired by the car company owner... his mere existence is blackmail alone: so head racer Steel has to drive Baker across the Swiss border during the anticipated third act race - unless (or until) one kills the other...

At which point neither the sport or crime film had panned-out since it all should have belonged entirely to Stanley Baker who, ironically, the next year became a superstar in HELL DRIVERS, making CHECKPOINT one of his last good-for-nothing scoundrel roles before playing cool anti-heroes, tough cops or upright villains.

With simply stunning scenery which has now been all but destroyed or tamed by modernity, this film is more than a good British film, it is a wonderful tourist film and social documentary. A typically stout performance by JRJ helps the film retain some semblance of realism against a backdrop of lakes and mountains that post war Britain must have forgotten about.

The cars are the undoubted stars of the film, with many classic marques in evidence. They alone can make the hairs stand up on your neck as they go through small villages at (slightly) unbelievable speeds whilst driver and co-driver mange to hold a conversation!! Other performances are up to usual standards for the type of film, and as usual in this type of film, young men are played by ever-so-slightly older ones.

Overall a good film that can help while away a wet afternoon whilst taking you back to the post-war era that didn't really exist.

Stanley Baker has been sent by automotive financier John Robertson Justice to get an Italian racecar engineer to work for Justice. He refuses, so Baker steals automotive plans.... blowing up the plant and causing the deaths of several people, including five policemen. The authorities want him and have his picture posted. Justice feels responsible, so he arranges to get him out of the country as the co-driver of Anthony Steel's car on a Florence to Locarno run. Baker intends to leave no witnesses, including Steel.

It's a chance to look at beautiful people and beautiful cars. The race, which begins in the final third of the movie, is shot half on location and half in Pinewood Studios with some obvious back projection. Ralph Thomas directs for speed and excitement and the result is very watchable.... even more so if you enjoy handsome cars.

Another piece of fifties Rank escapism that proudly declares itself 'A British Film' in the opening credits before promptly decamping to a glamorous foreign location (in this case Florence) where we meet glamorous women against the glamorous and macho backdrop of motor racing, international crime and fisticuffs. All in glamorous fifties Eastman Color while composer Bruce Montgomery blares away in the background!