L'assassino è alla porta

Hammer studios are, of course, best known for their horror films; but early on in the studio's history, there were a number of noir style films produced; and while this is one of the later efforts, it's surely one of the best! The film is clearly intended to mimic the American film noir being produced en mass during the fifties; although the film does retain an aura of Britishness which is achieved through the locations and strong accents of most of the lead characters. The film is suitably dark, though not as dark as many of its American counterparts. The plot focuses on a criminal that has escaped from jail after committing a robbery that went wrong. Inspector Harry Martineau, who happened to have gone to school with the criminal, guesses that he will return home to Manchester in order to pick up his share from the job. The criminal does return to Manchester and ends up with the inspector on his tail as he moves through the underworld, trying to find a place to hide.

Writer-director Val Guest (who previously directed a handful of Hammer's earliest horror films) spins an interesting story that remains intriguing throughout. The dialogue is surprisingly witty at times, and the characters are 'cool' enough to rival the films that this one is trying to imitate. There's more to the plot than just what is immediately going on, and the inspector's personal life is one of the main sub-plots. This thread is somewhat well expanded; although it has to be said that some other areas of the plot do not go as far as they could; although at only ninety minutes, there was obviously only so much that could be squeezed in. The film moves forward well, although at times it is a little silly; a plot that hinges on the idea of nobody looking at their hands is somewhat far fetched. The cast is strong, with Stanley Baker and John Crawford taking the lead roles and doing well with them; there's also a small appearance for the great Donald Pleasance. Overall, Hell is a City is an excellent British noir, and well worth a look.

I watched Hell is a City on DVD again the other day and was struck by how fresh and undated the story and acting still appears. It was a breakout Brit film for 1959/60- with its semi-documentary approach to police procedure,meshed with a tough on women approach and attempt to show relationships that don't have happy endings. On the DVD there is an alternate ending shown, which the director Val Guest claims to have no knowledge of at all! It's much weaker i think than Guest's own choice of ending. Stanley Baker is excellent; successfully showing all dimensions to an Inspector's working/personal life; Billie Whitelaw got nominated that year with the BAA for in the Newcomer category and deservedly so. All the support cast flesh out their characters' quirks very well. Actual location shooting (in this case-Manchester) was still quite unusual and there is a world of difference between this and a studio based crime thriller of maybe 10 years before.

This is a wonderful example of how worldly some british films can seem, while maintaining their local flavor. I believe that this film is very appropriately set in Manchester, anyone having been to Manchester will tell you its quite a tough place.

50s British entertainment was heavily influenced by Hollywood and continued to be influenced especially on TV until the late 70s, when things all started to get a bit colorless. This movie was made in a time when entertainment came first and the needs of the audience and hence a box office return, came before the politically correct requirements of the day. Having said that I have to say I'm VERY glad that you don't see many characters quite as sorry as Martineau's repressed housebound wife these days!

For those who are not familiar with director Val Guest - check out his other movies. He was a director who knew exactly what he was doing.

No other film of this period gives such a clear indication of the attempt of British crime thrillers to become more exciting.

The introduction of John Crawford as the American bad guy and one time buddy of Stanley Baker is enthralling to watch and can seem slightly odd and out of place. The opening sequences are reminiscent of British TV show 'Z Cars' and were later spoofed in Naked Gun (though not as a direct result of this).

Donald Pleasance is very reliable as the Jewellry Shop owner who has much to reveal, while Baker himself plays another tough cop as he did in Blind Date (1959) and Violent Playground (1958) - the latter was also directed by Val Guest.

Look out for the climactic sequences - gripping stuff and still ever so British.

I had been postponing my purchase of this and another Stanley Baker crime drama, Joseph Losey's THE CRIMINAL (1960; see below), ever since their DVD release back in 2002; ironically, what eventually pushed me into ordering them was the recent death of this film's director Val Guest - at the venerable age of 94! Well, all I can say is that I was foolish to have deprived myself of it for so long; this is surely one of the best British crime films ever and, being an atypical release for Hammer, is also one of their finest non-horror efforts!

During the excellent Audio Commentary included on the splendid Anchor Bay DVD edition, Guest admitted that one of his major influences (and not only on this particular film) had been Jules Dassin's innovative THE NAKED CITY (1948) and, curiously enough, one has to go back to Dassin's own NIGHT AND THE CITY (1950) to find an equally hard-hitting British noir!; then again, the film was ahead of its time since it would be years before a similarly truthful depiction of a policeman's domestic life would emerge in the U.S. (THE DETECTIVE and MADIGAN {both 1968}, for instance). The film is a veritable class act in every department: Guest's direction never puts a foot wrong and his screenplay (adapted from a novel by Maurice Proctor and deservedly nominated for a BAFTA award) is truly exceptional; Arthur Grant's chiaroscuro camera-work (mostly shot in real Manchester locations) is stunning; while Stanley Black's jazzy score lends the fast-paced if rather involved proceedings the requisite urgency.

Stanley Baker has one of his best leading roles as the tough cop who tries to make several ends meet - catch a dangerous criminal (American actor John Crawford, very effective) who's basically his alter ego, save his childless marriage with selfish Maxine Audley, and escape the daily temptation of a fling with the carnal (despite being middle-aged) but genuinely concerned barmaid Vanda Godsell (who also happens to be Crawford's old flame). Donald Pleasence has an important, scene-stealing supporting role as a bookmaker marked for robbery by Crawford - who had also been intimate with Pleasence's sluttish young wife (Billie Whitelaw who, despite this being her 12th feature film, was impressive enough to be up for the "Most Promising Newcomer" BAFTA award - and is even featured in a brief but startling nude scene which was promptly snipped for the U.S. version!). The rest of the cast is filled with familiar character actors, many of them members of Guest's own stock company.

Among the film's best scenes are the swift alleyway heist towards the beginning (which ends in murder), the wonderful "tossing school" (an illegal form of gambling) scene which takes place on the moors, several grueling interrogation scenes (with Baker often reduced to blackmailing his hard-as-nails 'customers') and the remarkably violent rooftop climax. By the way, I wasn't as displeased as Guest was with the alternate ending included as an extra (and which he had never seen before!) - inverting a couple of scenes and adding a brief hopeful coda (not filmed by Guest) with Baker and Audley - but I totally respect the director's decision to stick with his uncompromising original vision.