The Last Page

The only film Hammer made from a novel by James Hadley Chase; a bookshop provides an unlikely backdrop for such a sordid little story of passion and blackmail.

Despite the obligatory American stars the real drama concerns the British supporting cast; most of whom are allowed a little nuance. Although the American title refers to Diana Dors, it's actually more applicable to Peter Reynolds, who really plays the film's baddie, and who you spend most of the film yearning for him to get a good punch in the face.

Although the wonderfully sultry Diana Dors receives a full frame "introducing" credit, this was actually her 16th movie. She was in fact credited in 13 of her previous appearances and in at least half of them had major roles. So much for "introducing"! Needless to say, Diana effortlessly walks away with the movie even though her role is not as large as the title implies. Most of the action is held down by sleazy Peter Reynolds who contributes most of the noirish plot twists, assisted by opportunistic blonde, Eleanor Summerfield. The middle-aged hero is adequately presented by George Brent, although both he and his fellow American, Marguerite Chapman, appear so overawed by their U.K. surroundings, that even when Dors and Reynolds are not around, they allow everyone else in the cast, including Raymond Huntley, Meredith Edwards and most especially Harry Fowler—and even Leslie Weston and Nelly Arno—to steal scenes from them! In all, however, this is a reasonably gripping little thriller, provided you don't expect another Dial M. for Murder from writer Frederic Knott. The atmospheric bookshop set is both unusual and highly effective.

A better than average drama written by Frederick Knott, the author of "Dial M for Murder" and "Wait Until Dark", this shows Terence Fisher expertly handling a story of crime, lust and death during his efficient early phase working for Hammer Films, five years before the big success of "The Curse of Frankenstein". Although the main character is John Harman, the mature manager of a London bookstore (played by Irish actor George Brent), two young actors play more appealing characters who are key components of the plot and feature: Diana Dors and Peter Reynolds. A ravishing blonde beauty at 20, Dors had had a dozen of minor screen roles before being introduced in this production as Ruby Bruce, a sexy worker who turns everything around her upside down after she gets mixed up with Jeff Hart, a seductive ex-con played by Reynolds. Under Jeff's influence Ruby blackmails Harman, next a couple of corpses complicate the proceedings, soon Harman is accused of murder and then his secretary (American actress Marguerite Chapman) helps to solve the mystery, putting her life in danger. Peter Reynolds is fine, but he does not have much to do as the villain with sinister charm. It is Diana Dors who has more room for creating a real character. She was a very good actress, and although comparisons were often made with Marilyn Monroe, on the acting level she surpassed her American colleague: here she convincingly mixes naive wickedness with vulnerability, making the film not only the account of Harman's story but the drama of a confused working girl as well.

That was worth it just to see a 20 year old Diana Dors looking stunning with lips to die for.

Apart from the bottle blonde she looked largely natural at this time and more to my taste that the over made up Marilyn Monroe.

Her character attemps a clumsy seduction in the back of crusty George Brent's book shop office that along with her slimy male accomplice played by Peter Reynolds leads to blackmail and tragedy.

George Brent had his Hollywood moments I particularly liked him in Temptation playing an Egyptologist alongside Merle Oberon but here he is passed his prime.

An early Hammer thriller movie for a rainy winter's afternoon , now available in the public domain on Youtube.

In 1950, before Hammer made a name for itself with a memorable horror output, it set up a deal with American producer Robert L. Lippert to make a dozen or so low budget crime dramas, all of which were to be shot in the UK. In all the arrangement lasted for some five years, and utilised the fading star qualities of such past-their-sell-date American talent such as Dane Clark, Paul Henreid, Lizabeth Scott and George Brent, as well as leading British character actors.

None of the films are of the front rank, being issued originally on the bottom half of double bills. Hammer may not have established itself as a memorable producer of noir on the basis of this transatlantic deal, but the results have been unfairly neglected (being the basis of only a passing reference in the official history of the studio for instance).

Criticism of the films, apart from focusing on their small budgets and hand-me-down leads, has generally dwelt on the success or otherwise of transplanting an American hardboiled genre into a different soil. Certainly the first of those made under the new arrangement The Last Page (aka: Man Bait, 1952) is example. Far too genteel to be successful as more than a mildly suspenseful thriller, its impact is further affected by the unassuming performance of lead George Brent - an actor whom Betty Davies apparently liked as a partner on screen as it was so easy to steal the picture from him! Brent plays the manager of a bookshop, hardly the first choice for a thriller/ noir setting (although one makes a memorable appearance in The Big Sleep) who is blackmailed by the bad blonde of the title - no less than Diana Dors, an early screen role. It was an early credit too for one of Hammer's best directors Terence Fisher, though again this critic, at least, thinks he remains a minor talent. Like practically all the Hammer films in this series, the title was changed for the American market and 'Man Bait' certainly sounds more the job for the pulp world that the films inhabit. It also places Dors firmly at the centre of this film with a fine sense of atmosphere - having worked in the book trade for some years I found the dated interiors and procedures especially fascinating - while some other, equally effective location shooting amidst a now-lost London adds to the charm.