The Gambler and the Lady

THE GAMBLER AND THE LADY (1952) is one of Hammer's earlier noirs, so heavily based on Hollywood films from the 1940s that it feels more American than British. Short-but-powerful Brooklyn native Dane Clark plays a guy running a gambling syndicate who gets involved with a beautiful aristocrat while at the same time tackling some thugs muscling in on his territory. Familiar stuff for sure, but this is quite a crisp and well-paced thriller, with some decent menace, solid character work, and a wraparound structure that reminded me of CARLITO'S WAY. Kathleen Byron and Eric Pohlmann are among the supporting players.

In 1950, American producer Robert Lippert formed a business alliance with Hammer studios. Under the agreement, Lippert would provide American acting talent - frequently shop-worn stars or just supporting actors who fancied a profitable trip out of the country - while Hammer would supply the rest of the cast and the production facilities. Together they would split the profits. Famous for his concern with the bottom line, Lippert produced over 140 films between 1946 and 1955, characteristically genre pieces such as I Shot Jesse James or Rocketship XM. For the British deal, most of the films were noir-ish thrillers - and include this title.

Dane Clark, who appeared in several of these productions, plays the doomed gambler in question: a self made man, running a profitable London set up into which rudely intrudes his aspirational love life and the aggressive ambitions of some Italian gangster interlopers. His social climbing ultimately proves the straw that breaks the camel's back. Many of the British noirs interestingly import class considerations into the dramatic mix, concerns that are usually absent in the American model, and they are seen most strongly in this title. The gambler's end is ultimately determined by the suckering in of social mobility as much as the machinations of fate - but not before there is some effective sniping at the rudeness and untrustworthiness of the British ruling classes. Clark cuts a suitably doomed and somewhat pathetic figure as he struggle to gain acceptance.

Like many European films of the 1950s and 60s, the folks who made "The Gambler and the Lady" imported an American star to give the film more box office power. While Dane Clark was not a huge name in Hollywood, he was very recognizable back in 1952 and already had a reputation as an excellent tough-guy in films.

The film begins with Clark owning a successful gambling house in England. You soon learn that he's trying hard to fit in with society but this is difficult, at times, for him since he is, down deep, a tough palooka. Time and again, he needs to fight the impulse to slug people as it will undo all the culture and refinement he's been adopting since relocating to this country. Now, after meeting a woman of high breeding, he has dreams of selling out and becoming respectable. This need is so strong that for once in his life, he makes himself very vulnerable. What happens next? See this nifty little film for yourself.

So why did I describe this film as being 'noir-ish'? Well, it has many of the qualities you find in an example of film noir--such as the dame, great tough-guy dialog, a downbeat ending and a hero who has a shady past. But, it also lacks the great lighting and camera-work you'd expect to see in American or French noir--making it, perhaps, noir-lite! This is not a complaint--just an observation about the film's style. But, it IS very good for a low-budget B movie--short, well-paced and full of nice acting. Well worth seeing.

After he is apparently shot and hit by a car, we meet shady Dane Clark (as Jim Forster). An American in London, Mr. Clark operates a successful gambling casino. Clark served three years in prison because he got "crazy drunk" and beat a man to death. He would like to be accepted in polite society, but Clark still has a temper. He also talks like a Warner Brothers movie gangster, which doesn't help in "manners school." Clark decides to end his affair with common nightclub dancer Kathleen Byron (as Pat) and get intimate with classy socialite Naomi Chance (as Susan Willens). Underworld types give Clark a hard time...

Writer Sam Newfield delivers some interesting characters here, especially upper-crust Anthony Forwood (as Peter Willens), who could be a con-man, and mean-looking henchman Meredith Edwards (as Dave Davies), who has a devilish haircut. Still, the production is weak. The women should be more interesting, but are late and sketchy. It would have been nice to see more of both Ms. Byron and Ms. Chance. Byron could easily have been in more of the early scenes, to establish her upfront as Clark's precarious moll. The opening turns out to be a teaser; later in the film, we get see who wanted Clark dead. Sadly, you may not care.

***** The Gambler and the Lady (12/26/52) Sam Newfield ~ Dane Clark, Naomi Chance, Anthony Forwood, Meredith Edwards

There's plenty of crime in this Lippert picture. It opens with a well shot killing that is not clear till well into the movie. Dane Clark is the star. He was a staple of film noir. Here, we also see him in a top hat!

Yes, the subject is more class than crime. Clark is the gambler of the tile. (The female title character doesn't appear till almost half an hour into the movie.) He's an American but he wants to fit in in England. He's taking lessons in deportment from a caricature of a British lady.

He has a Scottish pal (Meredith Edwards) who is put forward as his butler. He longs to become accepted by nobility.

The supporting cast is good. The woman he falls for is not particularly charismatic but she's attractive. The more conventionally low-life types are plausible.

The dialog contains a lot of blatant exposition: "It's hard to believe that X years ago I was in Y with Z and while A B were ..."

It's well shot and holds the attention. But it's nothing to write (back) home about.