Faux policiers

OK, so it does sag somewhat in the middle - but otherwise this is quite a well paced crime drama that sees "Molly" (Belinda Lee) caught up in a plan by her friend "Gerry" (Ronald Lewis) that ensnares her impressionable brother "Mike" (David McCallum) and her even more impressionable young fan "Freddie" (Michael Brooke) into a daring diamond robbery. Turns out the youngster's dad is a policeman, and when he procures - unwittingly - a police uniform to assist the gang with their robbery; things begin to close in on "Molly", "Gerry" and the honest young man who happens upon the stones... There's not a great deal of jeopardy here - we sort of know from the outset what is going to happen, but Lee and the young Brooke are on good form and it shows us quite an interesting perspective on a still recovering post-war London populated by petty gangs and small time thieves who could be pretty brutal as required. It's a bit long and wordy - it could do with a bit more action, but it's got a tight cast with a decent plot that kills 90 minutes easily enough.

In post-war London, a diamond raid is carried out by a gang of small-time crooks. A young boy becomes caught up in the crime when he discovers that the gang has hidden the jewels in his home. They want them back.

A standard British crime thriller interestingly set amongst the homes and ruins in 1950s London. Ronald Lewis is the charming gang leader who will go to any lengths to retrieve the diamonds. Good supporting cast.

The Secret Place is directed by Clive Donner and written by Linette Perry. It stars Belinda Lee, Ronald Lewis, Michael Brooke, Michael Gwynn, Geoffrey Keen and David McCallum. Music is by Clifton Parker and cinematography by Ernest Steward,

Little seen and heard of piece of British noir, The Secret Place sits somewhere in between good and frustrating. Plot involves London crooks enacting a gems robbery and finding themselves at the mercy of an adolescent boy and his secret place.

First and foremost the pluses here far outweigh the negatives. The cast list is a veritable roll call of British actors who need no introduction to fans of British film and TV. The cinematography on show is perpetually film noir in look, where cinematographer Steward (The 39 Steps/Payroll) fills 90% of the pic with monochrome menace and dark cloaked actions. The robbery at the center of the tale is suspenseful and has a cheeky glint in its eye, and with the cast on form - bolstered by an excellent child acting turn from Brooke, production value from London locales is bang on the money.

However, the pacing of the pic is an issue, where as much as you want some depth to characterisations, the back and forward expansion of the key players takes up the bulk of the running time. It's also sad to report that the finale just fizzles out as a damp squib, almost as if the Hays Code was still in force and thriving in Britain! Is there still enough to keep this above average? Yes, definitely, but it's not a hidden gem by any stretch of the imagination. 6/10

I must confess I'm a little surprised by the lackluster rating of 5.1 that this film currently has on IMDb, because it's exactly the kind of movie that deserves reevaluation. Granted, it's no masterpiece. The plot isn't particularly innovative, and the dialog is clunky at times. Perhaps most disturbing of all, since director Clive Donner had been a top editor during the preceding decade, the pacing is too slow. (This kind of movie shouldn't run longer than 85 or 90 minutes.) But it's thoughtful and entertaining. And most importantly, it's an excellent example of the transition that the British film industry was undergoing in the late-1950s. On one hand, its characters are working-class types who feel entrapped by their environment, much like the "Kitchen Sink" dramas that began appearing the following year. Likewise, Donner's interest in youth culture and on-location photography mirrors that of the Free Cinema directors. On the other hand, the moral compass of "The Secret Place" is aligned with the moderate views of Ealing, and poor Belinda Lee is saddled with outdated lines like "you really *must* stop" and "I'd be ever so grateful." (By the way, the gorgeous Lee acquits herself nicely in this rare dramatic role. She was used rather poorly by the Rank Organization.)

What I especially like about "The Secret Place" is its blending of genres. At its most basic level, it's a heist picture. The plot centers around a daring diamond robbery. The second half of the film, however, runs more along the lines of a boys' adventure tale, with young Freddie trying to foil the gang's plans -- not unlike Ealing's "Hue and Cry" (though with far less comedy). Yet the movie also presents us with a vivid and dramatic portrayal of a bombed-out London neighborhood and the interconnected lives of its inhabitants -- much like "It Always Rains on Sunday" and "London Belongs to Me." At heart, this film wants to say something about the bleakness of war-scarred London and the need its younger inhabitants have of escape to a better life. A brief interlude that occurs when Molly and Gerry visit a modern flat they hope to buy with their share of the loot provides subtle but beautiful motivation for their actions.

As the other reviewer points out, most viewers will be interested to see a very young David McCallum in one of his earliest roles, and as I've already mentioned, this movie offers a rare glimpse of Belinda Lee tackling a role that wasn't beneath her. But the real eye-opener is Michael Brooke's superb performance as the adolescent Freddie, whose crush on Molly is exploited cruelly by the gang. Donner's skill with young actors is on full display here: Brooke's depiction of pubescent infatuation with a (slightly) older woman and the heartbreak and loss of innocence that that sort of infatuation can result in is spot-on. Freddie is both precocious and naive -- a combination that's extraordinarily difficult to recreate. It really is one of the best and most overlooked child performances of the decade. It's a shame that Brooke didn't have much of a career afterward. (By the way, IMDb's entry for Brooke apparently confuses him with a much older actor with the same name. Surely, he wasn't born in 1904! However, I know that I've glimpsed him in a couple of other British films from the same period -- "The Mudlark" and "The Long Arm," most notably.)

So if you get a chance to watch this on TV, it's worth your while. (It seems to come on TCM once every year or so.)

A beautiful young woman named Molly (Belinda Lee) begrudgingly gets involved with her brother Mike (David McCallum) in a diamond heist, meticulously planned by a small-time crook (Ronald Lewis). It's super risky, involving the impersonation of police, but amazingly, they get away with it. Sadly, a boy named Freddie (Michael Brooke), who has a crush on Molly, also becomes involved without his knowledge, and now he's in danger too.

This one features shades of The Window, which is a good thing. It's not on par with that one for various reasons, but still very enjoyable, with some good surprises. The story is engaging, adding layers that keep interest high, especially when Freddie's little brother finds something he shouldn't have, which sets off an entirely new, somewhat amusing chain of events.

All the performances were enjoyable, but Michael Brooke was the real revelation here. He did a fine job in the last of eight roles in his short career. (I also saw him in X the Unknown, but it wouldn't have been significant to me at the time)

I was very pleasantly surprised with this one. Recommended!