Adicionar um enredo no seu idiomaA married composer finds that his affair with his wife's half-sister has resulted in her death.A married composer finds that his affair with his wife's half-sister has resulted in her death.A married composer finds that his affair with his wife's half-sister has resulted in her death.
- Direção
- Roteiristas
- Artistas
Sylvia Davis
- Cinema Sales Girl
- (não creditado)
Max Faulkner
- Det. Sgt. Fred Smith
- (não creditado)
Garard Green
- Patrol Car Policeman
- (não creditado)
Arthur Howell
- P.C. Williams
- (não creditado)
Aileen Lewis
- Sheila (Party Guest)
- (não creditado)
Dudley Moore
- Piano Accompanist
- (não creditado)
Richard Neller
- Sleeping Man in Theater
- (não creditado)
Avaliações em destaque
What a clever little mystery this is, it is incredible how many of these forgotten gems are out there. I would have imagined this was made as a low budget b movie, but it is fully deserving of praise. Very good performances all round, Laurence Payne and Jane Griffiths are both very good, but it's the performance of Patricia Dainton that stole the show in her final on screen performance, a truly natural beauty, she plays a very soft, frail and dutiful wife, who possesses more then is shown on the surface. I love how complex the plot is, it is full of knots, twists and turns, it's a film you watch and have no idea which way it's going to go, you are guessing until the very (shock) end. It features a small cameo for Cleo Laine.
The plot is so good it could quite easily be remade into some cosy modern day mystery. It starts fairly slowly, and you could be forgiven for losing interest, but it's one of those that if you stick with you will totally get caught up in, the ending is so good too. I love a good mystery and this ticks all the boxes.
I'm glad I found it, 8/10
The plot is so good it could quite easily be remade into some cosy modern day mystery. It starts fairly slowly, and you could be forgiven for losing interest, but it's one of those that if you stick with you will totally get caught up in, the ending is so good too. I love a good mystery and this ticks all the boxes.
I'm glad I found it, 8/10
One of the best plotted films I've ever seen although not much actually happens the plot twists are outstanding
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.
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.
An interesting murder mystery that plays havoc with a conventional narrative, THE THIRD ALIBI is one of those intriguing, long-forgotten British thrillers that's well worth a watch for modern audiences. The plot involves the thorough scoundrel Laurence Payne and his efforts to do away with his lovely but ailing wife, played by the eternal Patricia Dainton, so that he can be with lover Jane Griffiths.
There's a neat preamble to the central murder as the characters go through rehearsals; the COLUMBO writers would be proud of the painstaking attention to detail here. In the second half, things become more confused when they don't go exactly to plan, and the film becomes both unpredictable and appealing. My only real complaint is with the moral code of the time which means that certain plot events are easily guessable and quite contrived.
The film was made by the short-lived Eternal Films, who seemed to routinely employ the workmanlike Montgomery Tully as director. They mostly put out low rent crime films although they also dabbled in horror (THE HOUSE IN MARSH ROAD) and comedies (THE CUCKOO PATROL). Dainton gives a fine, fragile performance in this movie, and Griffiths (TREAD SOFTLY STRANGER) does well as the third party involved. Watch out for cameos from singer Cleo Laine and the one and only Dudley Moore, the latter uncredited, but you can see him playing the piano in one scene.
There's a neat preamble to the central murder as the characters go through rehearsals; the COLUMBO writers would be proud of the painstaking attention to detail here. In the second half, things become more confused when they don't go exactly to plan, and the film becomes both unpredictable and appealing. My only real complaint is with the moral code of the time which means that certain plot events are easily guessable and quite contrived.
The film was made by the short-lived Eternal Films, who seemed to routinely employ the workmanlike Montgomery Tully as director. They mostly put out low rent crime films although they also dabbled in horror (THE HOUSE IN MARSH ROAD) and comedies (THE CUCKOO PATROL). Dainton gives a fine, fragile performance in this movie, and Griffiths (TREAD SOFTLY STRANGER) does well as the third party involved. Watch out for cameos from singer Cleo Laine and the one and only Dudley Moore, the latter uncredited, but you can see him playing the piano in one scene.
Its outline may remind you of "sudden fear" starring Joan Crawford,Jack Palance and Gloria Grahame : the victim knows her husband and his mistress are going to kill her for she eavesdropped on their conversation which revealed their ominous plans.Besides ,a tape recorder plays a prominent part in the plot.But it's a good murder mystery on its own :the screenplay (based on a play) is well constructed ,and even the manslaughter on the road has its raison d'être(the final picture packs a real wallop) .Even the title is well chosen .
The sisters ' feud is a little derivative: it's once again the "my kid sister was spoilt , they had only eyes for her " well-known tale ;but the film is short , tense ,and there's never a dull moment .Directing is not very inventive ,but the suspenseful script will keep you glued to your seat till the very end.
The sisters ' feud is a little derivative: it's once again the "my kid sister was spoilt , they had only eyes for her " well-known tale ;but the film is short , tense ,and there's never a dull moment .Directing is not very inventive ,but the suspenseful script will keep you glued to your seat till the very end.
Você sabia?
- CuriosidadesFilm debut of Dudley Moore.
- Erros de gravaçãoAt 3 min Norman is driving Peggy home. Within the car they are pictured close together in a tight embrace. However, the view of the couple as seen from the outside looking through the front windshield has them sitting apart.
- Citações
Norman Martell: I want you to give me a divorce.
Helen Martell: What!
Norman Martell: Sorry. It's not all your fault. In a way I'm just as much to blame as you are.
- ConexõesEdited into Kraft Mystery Theater: The Third Alibi (1961)
- Trilhas sonorasNOW AND THEN
Written by Don Banks and David Dearlove
Sung by Cleo Laine with Dudley Moore (piano) (uncredited)
Principais escolhas
Faça login para avaliar e ver a lista de recomendações personalizadas
- How long is The Third Alibi?Fornecido pela Alexa
Detalhes
- Data de lançamento
- País de origem
- Idioma
- Locações de filme
- Walton Studios, Walton-on-Thames, Surrey, Inglaterra, Reino Unido(studio: produced at Walton Studios Walton-On-Thames, England)
- Empresa de produção
- Consulte mais créditos da empresa na IMDbPro
- Tempo de duração1 hora 8 minutos
- Cor
- Proporção
- 1.37 : 1
Contribua para esta página
Sugerir uma alteração ou adicionar conteúdo ausente
Principal brecha
By what name was The Third Alibi (1961) officially released in India in English?
Responda