The Third Alibi

The British film industry made hundreds of thrillers in the 1950s but very few are memorable,but this is definitely one.I have just seen this again after some years.I consider it the perfect murder mystery for a number of reasons.Firstly every detail of the plot has a crucial impact in the climax,not least the hit and run accident.Every piece of the plot falls neatly into place.Patricia Dainton is able to use the details of the conspiracy to her advantage.The plot itself is uncomplicated and the story very well written.Well worth viewing when contemporary films have faded from view.Can be viewed on TV again for the first time in years.

This is a super thriller!

First rate story, with an excellent cast and a well devised plot, from beginning to end.

A writer of musicals is in a troubled marriage, so he plots a way to get rid of his wife so he can continue his relationship with her sister.

Some outstanding performances especially from the errand husband, his wife and the policeman in charge of the investigation.

Modern film makers should study the way this movie is presented: no unnecessary sub-plots yet a spider's web of intrigue with a climax that is brilliant.

Many of these so-called British B movies are far better than most modern-day new releases: 8/10.

A woman (Patricia Dainton) hears her murder being planned by her husband and sister in "The Third Alibi," a British film from 1961, directed by Montgomery Tully.

Dainton is Helen Martell, a woman with a weak heart, whose composer husband Norman (Laurence Payne) is having an affair with her sister Peggy (Jane Griffiths).

While he's rehearsing his new sure to bomb musical, with wonderful Cleo Laine singing a horrendous song, Peggy drops by the theater to tell him she's pregnant. She insists that he must divorce Helen, who flatly refuses.

Norman plans the murder carefully, including Peggy's alibi. Since Helen overhears the whole thing, she's not home to be murdered. Norman, however, discovers Peggy dead later that evening.

Neat film with a fabulous twist, and it's not what you think.

Laurence Payne plays a skunk composer who is married to a beautiful woman (Patricia Dainton) but he decides that she isn't enough. So he starts a torrid affair with his wife's sister (Jane Griffiths). How low can you go? Although Payne loves no one but himself he decides to ask for a divorce so to please a nagging Griffiths. When his wife refuses to give him a divorce Payne and Griffiths concoct a murder plan to get rid of Dainton for good. Unfortunately for the pair, Dainton learns of their plan and sets out with a little plan of her own. As one would expect there are a few twists and turns to the finale that keep the viewer entertained.

There are tons of these low budget British crime films from this era. This one is slightly above the average with a nice screenplay and good performances across the board.

Laurence Payne is unhappily married to Patricia Danton. He's also carrying on an affair with her half-sister, Jane Griffiths. Jane coyly tells him she's enceinte. So he asks Miss Danton for a divorce. She refuses.

Well, this is a problem. He works out an elaborate murder scheme with Miss Griffiths, involving a tape recorder and exact timetables. It's a perfect scheme, except that Miss Danton is listening behind a door. As a result, when Miss Griffiths is murdered, all the rest of the evidence points to him.... except for one crucial piece.

It's a sick and twisted and very amusing murder mystery, with John Arnatt as one of those stolid, slow-talking and hardworking police inspectors. More like an expanded episode of THE ALFRED HITCHCOCK SHOW than anything else, it's a beautifully constructed, cheap little thriller.