Dick Barton Strikes Back

Based upon the long running Dick Barton series from radio DICK BARTON STRIKES BACK is not without interest if only to give a view of British immediate post war austerity and mentality . Britain was quite rightly proud of the fact that from the Summer of 1940 through to most of 1941 she stood alone against German Nazism and Italian fascism . Her reward for winning the war was losing the subsequent peace . It was also obvious in the aftermath of the war that the standard of living in Britain had actually fallen compared to the times when the U-Boats patrolled the Atlantic and the Luftwaffe had bombed British cities

This is reflected in DBSB right from the opening scene where Dick and Snowey go in to a nightclub and foreign cultural influences abound . Snowey can't get a pint of bitter and if that isn't bad enough the waiting staff who are all foreign are in league with another bunch of foreigners led by a villain with the name of Fouracada . You can't help noticing that these criminals aren't of traditional Anglo Saxon stock and while you can accuse the film of a xenophobic mindset this would merely reflect the average British experience of other cultures . Europeans would be fascists , Zionists would be terrorists , Arabs would be rabid nationalists with new found power via oil and even an erstwhile ally such as America would be a cynical fair weather friend . Perhaps most sadly of all the Soviet Union would be on a par with Hitler's Germany #

For a film that uses a radio series as its source this is a B movie that deserves some credit for trying to be cinematic in feel .What I did notice is that its outlandish plot featuring a death ray controlled by a bunch of nasty foreigners does have a lot in common in the James Bond franchise but their are important differences . There's no exotic locations and a climax set around Blackpool pleasure beach isn't something you'd get in a Fleming story . Don Stannard as Barton might be square jawed but he's not a dirty fighter and when he gets in to a punch up with one of the bad guys it's unexpected he doesn't throw him out of the lift door . I'm guessing in those days it was only Johnny Foreigner who would do something unsporting like that ?

In preparation for the latest edition of the "House of Hammer" podcast, I watched the 1949 film "Dick Barton Strikes Back", a proto James Bond crossed with Sherlock Holmes character, for whom Hammer made a series of films.

Dick Barton (Don Stanard) and his associate Snowy White (Bruce Walker) are turned on to new threat by a US agent, who subsequently turns up dead. Fouracada (Sebastian Cabot) has come to the UK to test a new weapon, and is not prepared for Barton to threaten it's progress. When the inhabitants of a northern town are all killed, simultaneously, in mysterious circumstances, it's up to Barton to track down Fouracada and save the nation again.

I actually quite liked this. Even with the stiff upper lip of it all, the performances were mostly solid and the film looks a lot better than the Hammer films from just a few years earlier. At just 68 minutes the story whizzes along, putting Barton in danger Saturday morning serial style before showing an unlikely escape. There's a "Hooded claw" style silent overlord for the villains, the reveal of whom is pretty obvious, but doesn't undermine the film, even when he reveals the entire plan at his time of triumph. The best bit though is the consistent use of "The Devil's Gallop" which was his theme tune at the time but has, unfortunately for the sincerity of the film, been entirely corrupted for me by Mitchell and Webb's "Digby Chicken Caesar" sketch.

There's a bit of post-war xenophobia with the villains coming from an unnamed foreign country but looking an awful lot like Romany gypsy stereotypes. The noise of the sonic weapon, which we hear for lengthy sections of the film is extremely annoying. The character of Snowy really doesn't add much, other than reflecting how great Barton is and his obsession with getting a pint of Bitter.

But when the Blackpool Tower finale reached it's conclusion (and I put my headphones back on) I was reasonably satisfied with what I'd seen.

I was finally able to see this in a VERY nice three-film boxed DVD set of Dick Barton Hammer films from the late 40s. The first two (D.B. Special Agent, and D. B. At Bay) were both pretty bleak. So, I went into the final film with no great expectations. I was REALLY shocked by how good it was. The film is greatly strengthened by some incredible location filming, especially the extended scenes atop the Blackpool tower. My personal favorite moment was the bandleader directing a real packed dance hall full of revelers. It gave the "Dick must save the world!" storyline a bit of added significance to see a bit of documentary Humphrey Jennings-like texture thrown in. The story itself, about a new "sonic" weapon that can kill whole towns with pure sound, was clever too...Four stars! Oh, yes, and the villain has a harpsichord; this is always a nice touch!

Very Early Hammer Cheapie when the Newly-Born Studio was Floundering About in a Number of Genres.

In this one Hammer Dumbs-Down Popular Radio Hero Barton to a Comedy-Adventure with Copious Amounts of Slapstick and Bad Mugging.

Certainly Made for a Juvenile Audience.

It's Lively, if Nothing Else, and Manages a Fast-Pace both in Montage and Dialog.

This Type of Speedy Line-Delivery is Reminiscent of Screw-Ball Comedies from Hollywood.

They also Borrow the Style and Tone of the Serials.

Most of the Action is Fisticuffs with a Couple of Car Romps and Bit on the Sea.

The Studio Saw the Error of Their Ways and the Sequels are Much Better.

Not Much to Offer Except Nostalgia for those that Lived Through the Early Years of the Brit. Hero.

Most of those Fans will be Disappointed with this Entry but can Look Forward to Better Movies Ahead.

There is just something about the theme music that forgives just about everything else with these entertaining, if unchallenging mysteries. This one sees the suave Don Stannard in the title role, on the trail of some dastardly villains bent on world domination using a mind-controlling frequency. Director Godfrey Grayson offers us quite a well paced intrigue with plenty of action, the double-dealing "Tina" (Jean Lodge) and a tense little conclusion that passes an hour easily enough. The production is basic, and in this particular story the audio effects of their device did prove to be actually quite annoying after a while. Luckily there is no real jeopardy whatsoever so that's soon sorted out. Though entirely predictable, I still quite enjoyed it.