Caminhos Sangrentos

this films deals with the tribulations of one mans attempts to flee the scene of the crime and his wife's attempts to assist him. at first, we see a visible shaken individual, begging his wife to offer him asstense in getting out of the country(the united kingdom) however, as his wife helps his endeavors, she finds that the more she uncovers, the more incredulous the husbands story becomes. being Mona's biggest fans, I brought this film on e-bay. it's difficult to come by. it is enjoyable, however, I felt Mona was out of place(from a positive perspective) in this film. first of all, why is she in London? her husband does not have any grandiose job of any kind and they have no relatives there. in other words, unlike her film, I was a shoplifter(1950) which takes place in California, we have no familiarity with the environment. British constabularies methods do not jibe here. we need to see people and places we can relate to. of course, the reason they made the film overseas is because it's cheaper. Mona is wonderful of course, she even drives a truck(that's a turn on in my book) if you enjoy Mona you should enjoy this film. David Hayden char, SC

'B' movie veteran Montgomery Tully does a slick job on this unusual crime thriller which turns into an extended high speed chase through Kent as an increasingly dishevelled looking Gene Nelson wanted for manslaughter disintegrates into a trembling mass of nerves while his hitherto loyal wife Mona Freeman takes charge and the wheel of a truck to keep them one step ahead of the law as part of an elaborate plan to shake off the increasingly exasperated rozzers and flee the country.

Like most British thrillers of this period a lot of the fun comes from seeing the streets of South London as they looked in the far off fifties, lined with vintage cars and filmed for maximum visual impact. If you listen carefully, at one point the library music used on the soundtrack is also recognisable as the theme from 'Plan 9 from Outer Space'!

The police come by, asking Mona Freeman about her husband, Gene Nelson. After they leave, he shows up, asking Miss Freeman and her brother, Michael Goodliffe, to help him get out of the UK; he didn't mean to kill the guy. Goodliffe thinks the thing to do is to deal with the police, but Miss Freeman backs her husband. This leads her on a circuitous journey through the rather kindhearted underworld on getting Nelson out of the UK without a passport.

Because I have no idea of how I would go about finding them, I found it an interesting exercise in dealing with ordinary, decent crooks and singleminded officialdom, in a path that leads from downtown London through what purports to be the rural parts of Kent. There's little character observation beyond simple types; the well organized, seemingly casual, and cautious criminals provide both barriers and help in a manner that seems very real, given director Montgomery Tully's quick pacing to keep the story going and making sure this second feature didn't much exceed an hour in length. With John Bentley, Sidney Tafler, and Paula Byrne.

The movie fails because the male lead, played by Gene Nelson, is unsympathetic from the start. Tully was a good director, but you can't make a silk purse out of a sow's ear. The rest of the cast does their best, but a fish rots from the head down.

The seven previous reviewers have said it all. I felt no sympathy at all for the fugitive, who had no redeeming features. Obviously the film's emphasis was on his nice, devoted wife and her efforts to help her husband flee, but there were times when I wondered how plausible some of the actions were. It's one of those films where watching it again might help me understand it better - or determine actual flaws in the plot.

John Bentley and Sidney Tafler took the acting honours, with a very mixed range of support cast. The acting of several of the women failed to impress, notably that of the woman in the bathrobe. And it was strange that the publisher called his secretary "Terri", which was the name of Mona Freeman's character.

I've often wondered about vehicles' lights in these old films. IIRC, in Britain side-lights only were permitted on roads with street lamps, but out in the country there were times when the vehicles seemed to have no lights at all. (Perhaps the "night" scenes were filled during the time, with a back filter??)