Il ruvido e il liscio

This film gives the impression that it has had about six writers involved at different times.Each writer invents another character and plot line and then moves on.The next plot writer then abandons the previous plot and starts afresh.The only constants being that the Nadja Tiller character wreaks emotional destruction wherever she goes and the Tony Britton character is silly enough to take it all.It wastes some decent actors,particularly Donald Wolfitt and William Bendix.This film came in on the wave of sexual frankness that the censor was allowing.It was given an X certificate when today it would probably get a 12 at most.Maybe the producers wanted to take advantage of the situation and came totally unstuck.

I only watched this for Robert Siodmak, and would have left it alone if I had relied on the reviews here. Others supply the plot and actors well enough, but neglect to mention that Nadja Tiller steals the film. It really is her film.

I thought Tony Britton just about pulled his performance off (although could have been younger), and William Bendix earned his working holiday in London for his short performance here, particularly his second appearance in this film. All the other actors give fine support, and in particular the bit parts such as the waiter/taxi driver/landlady, make this enjoyable.

I have to warn you that there is pre-marital sex in 1959 (heaven forbid) going on here. There is also stockings, suspender belts, and underwear on show here. It doesn't stop there either, it goes much deeper with the characterisations, whom, it seems to me, that they like the pain that they inflict or are going through, not least the femme fatale, who is also in to her S&M. Blue Velvet it's not, but then what is?

I must also say that I was not disappointed with Richard Siodmak's direction either, which was top class, including the lighting etc. (learnt his trade in the German Expressionism great days I beleive). It all looked very good to me, which included the 1950's sets and pub scenes, usually best observed by a foreigner.

Mention must be made about the wardrobe department. Nadja Tiller was great in her underwear etc, there were trench coats, but as for William Bendix, what were they thinking of dressing him in a heavy striped shirt with a diamond patterned tie, underneath a chequered waist coat (ouch!).

I wouldn't call this film noir (no guns, deaths or a beginning reflecting on previous events etc), but the subject matter is certainly parallel to some I've seen. The ending is perhaps unresolved, but did it matter? Not for me.

When viewing, I suggest you look at this through 'B' movie glasses, and although lacking in (deep) plot, it certainly had enough to entertain me for the 96 (?) minutes. Overall, a good solid adult English/London 'B' movie for me.

Nadja Tiller, fresh from playing a blackmailing callgirl in 'Das Madchen Rosemarie' (1958) played a blonde tease in this screen version of the 1951 novel by the nephew of W.Somerset Maugham which amply demonstrates that he was another chip off the old block.

Tony Britton goes to pieces over blonde slattern Tiller as Lawrence Harvey would five years later over Kim Novak in Ken Hughes' version of 'Of Human Bondage' and James Fox would over Sarah Miles in 'The Servant'.

Enhanced by noirish photography by Otto Heller, there's a remarkable amount of sex talk; and Donald Wolfit again represents the cynicism and venality of the establishment as he had just done in 'Room at the Top'.

A young archaeologist, maneuvered into an engagement he does not quite want, encounters a stunning blonde with a German accent and decides to kick over the traces, much to the surprise of anyone (except, maybe, the blonde). He becomes agitated when the young lady's colorful past starts to intrude itself on his comfortable existence, and is truly appalled when he has the true PORTRAIT OF A SINNER. Will our hero nonetheless benefit from his dance with his dark side, or will our heroine drag him into the mire of her turbulent world?

There is a lot of good in this little bit of Brit Noir, including a script that is a lot more adult than usual for 1959. Since the adult bits are handled with wit, it comes across as sophisticated (and funny) rather than coarse. William Bendix, as the vulgar fellow who may or may not be our femme fatale's employer, adds some unique art design, as well as quite a good performance, to the mix. Also featured is some really good repartee. The problem is that there really is not all that much going on here, other than the tale of a lucky young man who wants a little naughty with his luck, before he takes up his rightful place in society. As a result, you might find yourself just a shade disappointed at the end of it all, despite the obvious talent involved.

When this film began, I thought it offered a less coy approach to sex than most 1950s film, but it turned out to be far more misogynistic. None of the women were favourably presented. It was redeemed, however, by Nadja Tiler's acting, which was quite extraordinary!