Never Take Sweets from a Stranger

This fine drama as well as "Cash on Demand" are, in my opinion, two of the best dramas produced by Hammer Film, though not as well known as Joseph Losey's science-fiction drama"The Damned", or Michael Carreras' thriller "Maniac", which had casts with better known actors as Kerwin Mathews, Viveca Lindfors, Macdonald Carey, Nadia Gray and Alexander Knox. In the line of New York scholar Ruth Goldberg's recent studies of the evolution of horror film, this is definitely a precursor to her approach, according to which characters from films as "No Country for Old Men", "Safe", "Fargo", "Precious", "Monster", and others, are real monsters that convey the feeling of fright found in the traditional horror motion pictures. The old man (Felix Aylmer) who abuses two little girls, who is taken to court, and finally follows them in the woods, is definitely one of the most terrifying monsters to come out of Hammer. If it still works today as an effective and startling drama, in 1960 it must have been shocking to audiences. Very good black & white widescreen cinematography by maestro Freddie Francis ("The Innocents", "The Elephant Man"). Don't miss it.

Vastly under-rated (no doubt due to it's lack of release and being regarded as just another Hammer Horror) it is yet another offering from that studio that shows just what crafted film-makers the team from Bray studios actually were.

Director Cyril Frankel extracts first-rate performances from the leading performers, with Janina Faye worthy of special mention as the key victim in the saga.

Production values are the usual high standard from the Hammer team of the late 50's - Early 60's, Bernard Robinson's production design triumphant transforming Pinewood's Black Park locations into a small Canadian town.

Freddie Francis does his sterling filter work yet again, adding menace to the lakeside finale and offering more in monochrome than could have been achieved in colour.

Considerably superior to most films that broach the subject matter and (although the copy I have seen is no better than average quality) it is hoped that the upcoming DVD release will restore the widescreen ratio thus allowing us to see it as it was intended.

If you think all Hammer films are vampires and werewolves and Frankenstein - think again. Hammer made all kinds of films. No doubt the Cushing/Lee films are classics, but some of these lesser known thrillers are masterpiece low budget films. I truly wish the Hollywood of today would take some notes from these thrillers and realize that with a great script and competent actors you can have an excellent film without spending a fortune. This film is especially terrifying if you are the parent of a child under 15. A new family moves into town, the father taking up post as the new schoolmaster. Their young daughter makes friends with a local girl and all seems well. But this town hides a decades old secret. As with many small towns there is one family that is the town patriarch. The founders. The family that has their hands in every pie in town. And this patriarchal family wields their power like a hammer. They also have a family member with problems that they expect the town to turn a deaf ear to. Felix Aylmer, a wonderful British character actor gives a sit on the edge of your seat performance as the creepy Clarence Elderberry, Sr., without uttering one single word in the entire film. Without being explicit, gory, or using foul language, Hammer presents a gut wrenchingly terrifying film that also serves as a timely public service announcement! Another great one to watch on a cold, dark, stormy afternoon. This movie will stick with you and make you ever aware of your children's whereabouts.

I saw this on video as "Never Take Candy from a Stranger," under which title it was apparently released in the U.S. It was the one serious film produced by Hammer Films, famous for its Gothic horrors, and I found this much more suspenseful, as well as much better made, than the lot of them. It begins with small tensions of frustration and mild dislike among members of the academic community in a small town and gradually, subtly builds to an atmosphere of dread that catches in the throat. Every character, down to the bit parts, has something of interest to say, and what they say and do, and how their actions combine, lead step by step to the harrowing conclusion. The only fault is the over-simplicity of its social viewpoint, as expressed by the main character and justified by the events of the story, which are by no means unbelievable but not inevitable either. Apart from that, I thought it was a first-class B-picture, a small film in the good sense, compact and economical, with all its resources, human and otherwise, firmly in hand. Also, it has the grey photography that once used to give films of this type the aura they needed: the grey of rain and fog and dusk and uneasy feelings.

Never Take Sweets from a Stranger is directed by Cyril Frankel and written by John Hunter who adapts from the play Pony Cart written by Roger Garis. It stars Patrick Allen, Gwen Watford, Janina Faye, Felix Aylmer, Michael Gwynn, Alison Leggatt and Niall MacGinnis. Music is by Elisabeth Lutyns and John Hollingsworth and Megascope cinematography by Freddie Francis.

British family the Carter's have emigrated to small town Canada and are rocked when it is revealed that 9 year old Jean (Faye), and her friend Lucille (Frances Green), were asked to dance naked for candy at the home of elderly Clarence Olderberry Senior. Filing an official complaint, parents Peter (Allen) & Sally (Watford) are astounded to find the town's denizens are reluctant to believe the Carter's take on things. It becomes apparent that the Olderberry family were instrumental in the building of the town and the family has much power within it. With the town closing ranks on the British outsiders, there's a real chance that a suspected paedophile will go unpunished and maybe strike again?

Thought provoking and intelligent handling of sensitive material, Hammer's Never Take Sweets from a Stranger has finally garnered the credit it deserves. Back on release the taboo subject of the plot ensured the film was mostly shunned, with bad marketing also proving to be a hindrance. However, it is ahead of its time in many ways, Frankel's (School for Scoundrels) picture manages to gnaw away at the senses with its calm and measured approach work. Francis' (The Innocents) black and white photography a clinical ally to the realism wrung out by Frankel.

The alienation of the Carter family is steadily built up, the small town mentality to strangers in their little world unspools calmly by way of credible acting and believable passages of dialogue. By the time the last third arrives, the frustration of the Carter's is shared by the viewers, things get legal and gripping, and then it's the uncoiling of the spring to unleash the denouement. Point made, a message movie of some standing, monsters in our midst indeed. Not merely the predators preying on our children, but also the guilty around them, ignorance most definitely isn't bliss. 8.5/10