Roubou, Mas Fez...

Seeing a film which has been unseen in decades and to all intents and purposes "lost" is a real privilege. Although you're viewing something by today's standards and eyes. It almost needs two scores: with those factors included and discounted. I'd heard about this film 10 years ago. It was shown in Darwen, where it was filmed. The print being owned by a private collector. It was frustrating it wasn't given a DVD release. Periodically I checked online for any word on the film and that remained the case until 2017. When my search result revealed it was being released. Fantastic news! I don't know what the obstacle was. Whether it was rights issues or the owner didn't want to sell or even if the release was his print. But that's history now. Overall I'd give this an 8. The plot meanders a bit in the middle and watching it with any logical scrutiny is perhaps not the best idea (it's a 1960 Norman Wisdom comedy!) But it is very enjoyable and Norman gives an excellent performance. Many people stress in this film he tried to move away from his famous "gump" character. He does and it makes a welcome change. And shows he had greater range. That said he's not so hugely different to not appeal to those who like the Gump. The ending is quite something. I'm slightly sad that over the past decades, this film hasn't been known or seen widely, as with his other films. Although this is the future- today we see less and less repeats of the greats on the main national broadcasters. Such as Laurel and Hardy. Overall, thoroughly recommend.

Screenwriters David Newman and Robert Benton, then-hot off their success with "Bonnie and Clyde", penned this story of a bandit in 1880s Arizona who is given 10 years in a desert prison after robbing $500K from the home of a rancher (the crooked man gets caught when he and the rancher visit the same brothel on the same night). Also incarcerated: an infamous train robber; a drunk who took a shot at the sheriff, plus a couple of inept con-artists and a young man who accidentally killed his date's father with a billiard ball. Although the film never rises above the level of inconsequential fare, there are a lot of talented people on-screen to watch, including Kirk Douglas, Henry Fonda, Warren Oates, Burgess Meredith, Lee Grant, Bert Freed, Jeanne Cooper (who flashes a breast or two), Pamela Hensley (who flashes a breast or two), Victor French, Alan Hale and Barbara Rhodes. Director Joseph L. Mankiewicz later complained that his 165mn final cut was drastically edited down to 126mns by Warner Bros., leaving Grant in particular with reduced screen-time. It looks good and moves fast, but there's nothing overwhelmingly memorable about the picture--it fades quickly in the memory. Trini Lopez sings the awful title song, composed by Charles Strouse and Lee Adams. **1/2 from ****

While there are those who are left cold by Norman Wisdom, I am not one of those people. In fact, I am quite fond of him. There Was a Crooked Man is my favourite film of his, and he couldn't have been more perfect here in his role as he teams up with crooks to outwit the mayor of a northern town. His role here allows him to maintain his poor but honest persona and his wide eyed innocence that makes him so endearing to me, but it is probably the most versatile of his roles as well. There Was a Crooked Man benefits further from striking filming, quirky music, fun direction and sparkling dialogue. In terms of performances, Wisdom makes the film for me, but he has some excellent foils also in the form of Alfred Marks and Andrew Cruishank. Then there is the comedy, There Was a Crooked Man in my opinion contains some of the best things Wisdom ever did. The bank robbery, the battle with the factory machinery and Brian Oulton taking a shower unaware that Wisdom is in the stall with him particularly stand out. In conclusion, a divine comedy and my favourite of a talented performer. 10/10 Bethany Cox

You might have thought that every single film Norman Wisdom ever made had been on TV at least twenty times in the past five years. But this - his personal favourite - has been unseen on British television for over half a century (although it is thankfully now available on YouTube and DVD).

Chafing at the restrictions imposed by Rank, Wisdom made two independent productions (the second being a version of Wodehouses's 'The Girl on the Boat') described by Robert Murphy as "refreshingly unusual" released through United Artists for a company that promptly went bust (the former having already been swiftly withdrawn from cinemas following protests from the Americans at the way they were caricatured in it); leaving them in a rights limbo that has kept both off television for a generation while his Rank productions are on all the time.

Based on James Bridie's 1949 play 'The Golden Legend of Shults', directed largely on location at Darwen in Lancashire serving as mill town Sleeth-on-Sea by theatre director Stuart Burge; further enhanced by terrific photography by Arthur Ibbetson fresh from 'The League of Gentlemen' and slick editing by future James Bond director James Hunt it all builds to a memorably explosive conclusion.

An excellent supporting cast (with venal authority embodied by Andrew Cruickshank rather than Jerry Desmonde) includes blonde bad girl Jean Clarke, little seen thereafter, and - in only her second film - an appealing young brunette named Susannah York, much seen thereafter.

I was never a fan of Norman Wisdom. I found that the plots were very simple,unfunny,with a tendency towards mawkishness.

So I was surprised by the first hour of this film which was actually watchable,but even funny in places.

Alas after an hour it goes very much downhill. Wisdom decides he could do an American accent,for some reason. The plot changes course and becomes a bore. At one hour forty seven minutes this is about thirty minutes too long.

The supporting cast is fine. Debutant Susannah York, with a brunette hair do,shows some early promise. Reginald Beckwith was always a favourite of mine and he is always reliable.

It's a shame the writer couldn't have come up with a funnier last act.