Un buon prezzo per morire

Watchable but somehow unmemorable suspense thriller from a major British director. The plot, cleverly written by John Mortimer, has some quite subtle twists and turns; the acting good. Laurence Harvey as a dislikeable insurance fraudster, Lee Merick is particularly fetchi9ng as his increasingly uncertain wife, Alan Bates gives his usual sensitive performance as investigator who might be on to them, all convince. But Carol Reed (director of such classics as The third Man, Odd Man Out, Oliver) never manages to give it quite enough urgency or edge. It all comes across as something of a pot-boiler in his career. The scenery in Spain and Gibraltar is atmospheric, but it's one of those films that relies just a bit too heavily on pleasing sunny locations.

A bitter airline pilot fakes his own death and gets his wife to collect the money. They escape to sunny Europe after committing a perfect crime. But, of course, there's always the dogged investigator to make things difficult.

This movie is a good afternoon's diversion. It's bright, flashy and pacey. With John Mortimer writing and Carol Reed directing, it has a certain touch of class. It's not an A list movie by any means, but a quick look in any reference book will tell you that it's well respected. Good performances, bright locations and a decent pace make this well worth a look.

A decent enough thriller but one that really needed a Hitchcock or at least a director who knew how to mould the somewhat far-fetched material into something more plausible than this. Instead we get Carol Reed on something of an off-day and he seems more content to let the material carry itself rather than actually do something with it.

Laurence Harvey is seriously miscast as the serial insurance fraudster pursued to Spain by Alan Bates' insurance investigator while Lee Remick does what she can with the rather thankless part of Harvey's wife. Bates is very good and just about carries the picture while the cat-and-mouse scenario is often exciting and Robert Krasker's widescreen cinematography, (it was shot mostly in the South of Spain), is certainly attractive. It's the kind of film you might expect from someone like Michael Anderson or a host of other serviceable directors slumming it in some exotic locale but from Reed you really do expect more.

Sorely underrated and dismissed at the time of its release, THE RUNNING MAN can now be seen for what it it: a highly effective thriller. Director Carol Reed was said to be shaken after being dismissed from MUTINY ON THE BOUNTY, but it really doesn't show. He conducts us deftly through a nicely conceived intrigue, with no time wasted. If a viewer can forgive a small handful of plot contrivances, this movie delivers in suspense, interesting characters, acting, and pleasing use of locations. The cast is superb: Laurence Harvey might look underfed, but his character is richly drawn he seems to have a great time. Lee Remick has never been better: a woman who sees her husband for what he really is when he assumes a new identity. And Alan Bates, an actor who radiated charm, brings a lot of substance to his part. Watch for Fernando Rey and Fortunio Bonanova (the singing teacher from CITIZEN KANE--"Impossible! Impossible!") as a bank manager. The script has a good helping of humor along with the suspense. And William Alwyn's music score enhances the film as well. It may not be THE THIRD MAN, but THE RUNNING MAN is likely to satisfy most fans of thrillers, the director and the estimable cast.

This movie surprised me. It started out as one type of movie and ended up as another - it was a pleasant enough surprise though.

Laurence Harvey plays charter pilot Rex Black who fakes his death allowing his wife, Stella, to claim the insurance. Although Harvey was not particularly loved by many of his peers, he made some great movies. I always liked him and his Rex Black is cocky and edgy.

Lee Remick plays Stella. Time spent watching Lee Remick on the screen is never wasted. She was an actress whose abilities were sometimes under-appreciated because she was so beautiful. She is as disarming here as she was in everything she did.

Alan Bates plays Stephen Maddux, an insurance agent who investigates Rex's death and later fancies Stella when they cross paths in Spain - he thinks she is a widow, and Rex assumes another identity. Bates plays it low key while Harvey's character becomes darker and more aggressive as he attempts further scams, and is prepared to do anything to stop his plans unravelling.

Sadly all three actors went far too early - cancer in each case.

Directed by Carol Reed, the film has an unusual energy. It starts out as a light caper film, but by the half way mark we realise that the game has become more dangerous. The ending has a similar touch to the one that made "The Third Man" so memorable.

The film was made in 1963, and although it benefits from great locations in Spain, it actually feels a little like British films of the 40's and 50's.

The score by William Allwyn has a lot to do with that. For a long while British film music had a distinctive sound with some brilliant scores. It had a different timbre to the typical Hollywood score. You could tell a film was British as soon as the main title music started, but by the late 50's, composers like John Barry and John Addison brought a fresh sound that was far more international. However the score for "The Running Man" was a throwback - it was Allwyn's last score - maybe Reed had asked for him - but it could almost be a score for a film in 1948.

Although "The Running Man" does not represent the best work of those involved it is more than watchable and has a couple of twists worthy of Hitchcock.