Never Take Sweets from a Stranger

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

An extremely well executed film with very difficult theme and despite the care and attention, never mind the pre-filming censorship problems, one wonders just who was likely to be the intended audience. Perhaps the answer is in the makers' fight for a certificate less than an 'X' on the grounds that otherwise children would not be able to see it. It seems that the intention was to send out a warning that not all is wonderful in the world and care should be taken when 'strange' men or simply 'strangers' offer incentives for children to disrobe. The film is of necessity disturbing and there seems little chance such a film would even today be made available to 'children', however hypocritical that is. Gwen Watford is excellent and Janina Faye as the 'victim' absolutely spot on in a very difficult role. Brave, literate and very powerful.

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.

This flick was screened in 16mm at the Gene Siskel Film Center in 2016 as part of a "British noir" series; associate director of programming Martin Rubin wrote in the center's monthly gazette that this was an "undiscovered gem" that "combines taut suspense with a sensitive treatment of a delicate subject." I agree with that assessment.

This film also won me over by getting to the juicy bits, fast; the pacing is nice and quick, so that the pervy Mr. Oldberry does his sick deed (off screen, of course), and the Carter family is left to grapple with the consequences. The Canadian-set film is written superbly for a 1960 "issues" film with a schlocky title; it seamlessly morphs from domestic drama to legal procedural to suspenseful thriller in the final act.

A movie like this could have easily gone the way of unintended farce, but its well-rounded characters and willingness to look at all sides of the issue mostly keep it floating above the realm of silliness.

The audience at the showing I was in gave a couple chuckles in the beginning, when the film opened with a title card warning us that this story could potentially take place in any town, at any time; those sniggers subsided when the film proved its nuance during the rest of its 80-minute runtime. A great, underseen gem.

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.