Círculo de Ferro

Confidently directed by Jacques Tourneur and ably portrayed by a fine cast, "Circle of Danger" is a relatively unknown film that is worth finding if you can (maybe through CD purchase or on TV). You won't regret looking it up.

Ray Milland is the perfect choice as an American who efforts to discover exactly what happened to his brother in WWII. Not an easy task to discover details about a death during a commando raid, obviously a chaotic and deliberately secret event by nature. Although the American's motivations remain a bit fuzzy to everyone, he is doggedly determined. The result is an ending resolution that I found to be rewarding and finely done.

The radiant Patricia Roc portrays a young woman who tries to balance career and emotional involvements with as much wisdom as possible in view of fast-moving and evolving events. Marius Goring ("The Red Shoes") expertly essays a complex character with style and aplomb. Former movie "Saint" Hugh Sinclair is solid as a rock and excellent in his portrayal of a truly selfless aristocrat. All of the characters in this film are conveyed with some depth, surprisingly so for a modestly made sort of movie.

1950 Britain is really featured throughout the film and nostalgically captured in black and white which seems somehow appropriate for the date and era.

They just don't make them like this anymore- so you will feel lucky to have found "Circle of Danger".

This is a tricky post war drama, when an American comes to England to investigate how his brother really died in the war, being a single casualty at an incident. His family has Scottish roots, his name being Douglas, so there is a great deal of Scotland in this, and although it's all about the second world war, the entire drama takes place in Britain, especially Scotland. The last scene on the Scottish moors is extremely sharp in its concentration on an extreme moral dilemma that the soldiers of the relevant company found themselves in and had to resolve in a painful way. The script is brilliant and extremely interesting, as the investigation goes on probing deeper and deeper into a mystery that refuses to be unfolded, until Marius Goring intervenes and provides the releasing contribution. It's actually a chamber drama, it's all dialogue and discussions, and the romance seems beside the point, although it is well captured and plays some important part, especially by constantly encountering new crises. Ray Milland is always good, Hugh Sinclair plays a difficult part but is the right man for the job, while Patricia Roc contrasts well to the austerity of the drama by her beauty and obstinacy to Ray Milland's devious manoeuvres. It's an unusual film more made for thought and consideration than for enjoyment.

An American World War II veteran Clay Douglas (Ray Milland) comes to Scotland in order to conduct an investigation concerning death of his brother during a special mission in France during the war, the mission where he was the only casualty what appears to be very strange to Clay. Travelling through Scotland, one by one he meets former war mates of his brother and tries to inquire them as about circumstances surrounding his death. But everyone pretends to know nothing or very little about what happened back then, the fact that makes Clay Douglas more and more sure that it's in fact one of them, his former colleges, is guilty of his death. The question is: which one of them?

Circle of Danger marked Jacques Tourneur's return to Europe, namely Great Britain where he went in order to make this movie. Though the Circle of Danger doesn't belong to the Film-Noir genre it might be considered the bleak shadow of Jacques Tourneur's Film-Noir classic Out of the Past. Parallels can be drown especially in terms of the story, which in both cases concerns the main character's past, only in Out of the Past Robert Mitchum's character Jeff Bailey tries to forget it, to hide from it, which ultimately proves to be impossible and results in tragic ending, while in Circle of Danger Ray Milland's character Clay Douglas decides to travel back in time and uncover its mysteries related the unclear circumstances of his brother's death in world War II. Only in Circle of Danger everything is much more `primitive', much more simplistic in terms of the story and character's development and their interactions as well as in lacking of that great wittiness of dialogs which is one of the main masterpiece ingredients of the Out of the Past, and finally the film's ending, a time where a question might arise in our minds: Is it was worthy the time we invested in seeing it? 6/10

This British drama directed by Jacques Tourneur threw me for a loop: for over an hour the story written by Philip MacDonald meandered, resembling the traditional shaggy-dog story, a type of movie I detest. Postponing getting to the point, with loads of tangents instead of an involving adventure.

It is initially structured just like my favorite British movie, Mike Hodges' "Get Carter", which I attended several times in 1971 when it came out, so enthralled with its style and detail. Here we have Ray Milland with a tough-guy accent/vocal delivery, travelling to UK in search of the real story behind his younger brother's death as a commando in World War II. He doggedly pursues the facts, but is repeatedly stonewalled as he approaches and interviews the fellow surviving members of his brother's squad.

Meanwhile, a romance develops between him and Patricia Roc, girlfriend of a Scottish officer he questions, replete with a "meet-cute" scene in which Roc literally accidentally bowls Ray over (physically) when they meet for the first time. The motif of him repeatedly late or standing her up for dates while he goes on his important search for answers about his bro underscores the shaggy-dog aspect of the storytelling.

Finally, in the last reel or so the movie comes to a head, with the revelation of who killed bro and why, and in a rather moving and unexpected fashion, British civility and honor creates a nonviolent and most satisfying ending.

Quite offbeat in its treatment of the thriller genre, it's another example of Tourneur's skill.

Low-key drama which seems to be going nowhere for much of its running time before pulling off an unexpected and intelligent resolve. Unfortunately, there's too much time devoted to Ray Milland's difficult wooing of Patricia Roc, who doesn't take kindly to being kept waiting.