Haute trahison

An otherwise workmanlike British thriller with familiar overtones of anti-Communist paranoia is salvaged by a lively script that underplays the bellicose propagandizing of other, similar witch-hunts. The emphasis instead is on action and character and some colorful local dialogue, as a network of saboteurs infiltrates the highest (and lowest) levels of democracy with nefarious plots to undermine England's power structure. The enemy agents are never precisely identified (it's clear who they are long before the authorities catch them 'Red' handed), and of course they're no match for the stiff upper lips of Scotland Yard, although it takes an extended gun battle at the Battersea power station to prove it. The film was less flattering and thus less popular than its predecessor, 'Seven Days to Noon', but seen today it remains an enjoyable, well-crafted relic from the warmer days of the Cold War.

Roy Boulting deserves remembering as one of the best British directors of the 1950s and 1960s. With films like THE MAGIC BOX, SEVEN DAYS TO NOON, THE FAMILY WAY and other outstanding credits.

HIGH TREASON is certainly a good early Cold War flick, at a time when across the Atlantic US Senator McCarthy was launching his famous House UnAmerican Activities Committee (HUAC) which basically suspected everyone of communist leanings, and those suspicions were only heightened in Great Britain, as part of a continent - Europe - where World War Two had begun and had remained its prime theater, with Russia embarking on expansionism after the conflict, and spies like Kim Philby and others defecting to the USSR.

HIGH TREASON examines the way British police investigate a bombing incident resulting in human and instructural losses, and link it to a spy ring headed by a British traitor. It is certainly well done, even if I have some reservations about the authenticity of the final shootout.

Convincing acting, cinematography and realistic dialogue all help, even if HIGH TREASON rates nowhere near masterpiece. 7/10.

I agree with the writer of the previous comments. This is a little gem of a thriller, not because it has unusual plot twists, or even especially good acting, but because of its fantastic pacing (more like a modern thriller than the usual fare from 1951), and because of its fabulous shot-on-location scenes that put you right in post-war London. I grew up in post- war Britain, so perhaps I'm biased; but some of my favourite films are those which manage to escape the confines of the studio, something that was much rarer in those days than it is now. The world of the film is now more than half a century distant, and when you watch those streets, buses, and cars, those people walking around, it's slightly shocking to realize that many of them now sleep the big sleep, that you're looking through a window into the past. This alone, for me, is worth the price of admission.

The film is also the least talked about, most neglected of all Boulting's films, and as far as I can make out, hasn't ever been released on VHS, let alone on DVD, probably because, once the 1960s New Left had come into the ascendancy, especially in the various film studies institutes, the kind of old fashioned Cold War politics Boulting's film embodies were seen as both embarrassing and naive. Well, it's time for a re-evaluation. The politics of the film never did make much sense, so what we're left with is an exciting, well-crafted, and beautifully paced thriller, one that has, perhaps surprisingly, more heft than many contemporary thrillers, certainly more pizazz than the usual James Bond entries. If you can see it (and I discovered it courtesy of A&E, who ran it as a kind of joke several times in the early 1980s) sit back and enjoy it.

Roy Boulting's drama reminded me of the Archer's HOUR OF GLORY, about the work of bomb disposal during the war, released a couple of years earlier. Like that drama, there's nothing glamorous or flag-waving about it. The war may have grown cold and it may now be about Communist cells and politicians happy to use explosions that kill dockworkers for their own political advantage, but it has the same dirty and unhappy feeling about it.

Cinematographer Gilbert Taylor abets this gloomy and paranoid atmosphere with stark British noir lighting. The sets are cramped and crowded, and starkly lit from the side and overhead, to offer dramatic shapes, but never let you look anyone in the eye. The actors are all good: no stars of the era, but performers you would recognize, familiar faces..... so that the audience members would say don't I know him? He couldn't be a bad 'un.... but in Boulting's nasty world, the best can turn out to be the worst, and the only salvation lies in the fact that there is yet some decency among the unregarded.

Well, that last pious wish was because he was working among other big-name behind-the-screen talent and money men. Soon enough he would reunite with his twin brother John and they would turn out some movies where only fools were decent.

Exciting, Constantly On-the-Move.

This Overlooked Early-50's British Cold-War Thriller Never Lulls.

Introducing a Multitude of Characters, Spys, Counter-Intelligence Officers, and Every-Day Folks Caught in the Middle.

It's a Multifaceted Sabotage Plot.

The Fast-Paced Film is Well Acted and Shot.

With a Plethora of Outdoor Scenes, Close-Knit Indoor Meetings of the Plotters and Counter-Plotters.

An Intelligent Script Accompanies the Mystery and Intrigue.

The Movie is a Sequel, Made by the Same Production Team that did..."Seven Days to Noon" (1950).

The Director's Production Team-Mate and Brother, John Bolton, Did one of the Best British Film-Noirs, "Brighton Rock" (1948).

This is a Crackling "Communist" Infiltration Movie.

Although, Communist, Reds, of Soviet-Union is Never Explicitly Stated.

Only its Philosophy and Politics.

Cold-War Movies from the Early 50's, a Heart-Beat Away Joe McCarthy and All, Doesn't Get Much Better.

The Conclusion in the Industrial Sector Doesn't Hold Back on Thrills and Spares No Expense in its Verisimilitude.

Breathtaking, and a Must-See.