Scotland Yard appelle F.B.I.

This little second string effort from Republic Films was cunningly photographed in London after the Blitz, and there are echoes of The Third Man in much of the atmospherics, as a kid in the run from a crime he did not commit hides at night in crumbling ruins near the Thames, and hungry during the day, hires on for a ham sandwich in a warehouse gearing up for day traffic. The kid flushes out an actual murderer, and the two of them get wrapped up with the two Hollywood actors used for marquee bait, Lizabeth Scott and Steven Cochran, who do their best to make something of not much, with a romance budding in the ruins. Both actors manage well enough, though in their past each could be electrifying; poor Herbert Marshall walks through an uninspiring bit as an English inspector, and the screen does light up with the fascinating and lively appearance of Nicole Maurey as a "professional hostess." If you don't expect a lot of suspense built on logic and honest tension, but are happy with a tour of London at Night and some time with Hollywood Stars going through their paces. this is not a bad 78 minutes at the movies.

THE WEAPON is an unusually-plotted British crime film in which the bombed-out ruins of a post-war London play a large part in the proceedings. The tale is about a group of street urchins playing in said ruins who discover a loaded gun. One of them accidentally shoots a friend and goes on the run, which is when the plot kicks in for real.

The main problem with this film is the unbelievability of the plot. The villain character seems shoehorned into the storyline and never would have been in danger from the police had he simply kept out of things. In addition, the kid who goes on the run would have been out of danger had he simply handed himself in to the police early on. Thus credibility is strained throughout and the film sometimes feel mildly ridiculous as the plot plays out.

The further shoehorning into the story of an American military figure to act as detective is a blatant attempt to get an American lead into the thing, although Steve Cochran is saddled with a very dull character. The inexplicably American mother, Lizabeth Scott, is much better and somebody you end up warming to as the story progresses. George Cole is cast against type and should have stuck to the mild comedy he was far more convincing in. It was a pleasure to see old-timer Herbert Marshall (FOREIGN CORRESPONDENT) in support but he only appears in a couple of scenes.

The main actor is former Oscar winner Jon Whiteley as the precocious child who causes so much trouble. I quite liked him although others may find him a bit irritating. Whiteley has nowadays forgotten about his early acting career and become a museum curator. The exemplary direction is by Val Guest, who brings an atmospheric London to life, teeming with the working class, and the locations have never looked so authentic and lived-in.

Always interesting to see a city in the 1950s in films most commonly London of course in UK films. The lack of traffic compared to now is amazing. Still plenty of bomb sites ten years on from the end of the war. An interesting plot with a ring of truth about it as many weapons kept after the war must have been around at this time. George Cole was great as the baddie as he played spivs a lot early in his career so had experience of this type of character. A time capsule of a film which is a very interesting watch and can be recommended but probably not for youngsters, ie those below 50 years old.

Steve Cochran 's investigation is never that much exciting ;his wooden acting does not help. On the other hand ,Lizabeth Scott ,one of the film noir most glamorous girls ,second only to Bacall and Grahame in this field, cast against type ,is excellent in her role of an English widow housewife (whose husband died with his weapon in his hand) .She's deeply moving ,after the visit to the morgue when she burst into tears, feeling for this mom whose child is there ,lying on cold stone; and forgetting ,even if just for a while ,that her own brat is still in jeopardy .

It echoes to Vivienne's pessimistic view of life ; it's very rare that a supporting character is given the opportunity to express such despair .French Nicole Maurey ,who worked with Robert Bresson but never really became a star in her native country , as an user has already pointed out ,plays the part which was tailor made for Scott , and she pulls it off efficiently .

Much more than Cochran's investigation , the boy's wandering in the streets of london remains credible at least till the time where all the walls are covered with posters .John Whiteley's questioning look works wonder here,even if "the weapon" does not equal previous great efforts such as Lang's "moonfleet " and the extraordinary "hunted " (which paired him with Dirk Bogarde whom he met again in a watered down version of Cronin's "the Spanish gardener").His playing always rings true ;like in "hunted" he flees from the adult world :after all , his crime would never have happened if man had not invented war; it's no coincidence if his mates choose to play war to grab the famous weapon.

There are plot holes (mainly concerning the villain)but there's never a dull moment in this short thriller.Besides,there's a welcome sense of humor : the brat asleep under a pile of newspapers on which his photograph hits the headlines.

Whilst out playing with his friends, young Erik Jenner finds a gun and accidentally shoots another boy, believing he's killed the young lad, he goes on the run. Erik has inadvertently found a weapon, that's connected to another murder.

This was a very watchable and enjoyable 80 or so minutes, the opening ten minutes were terrific, very shocking, and whilst the rest of the film doesn't quite have the same, it's still very interesting.

The best element, the atmosphere, it looks fantastic, some really nice camera work too, Val Guest truly did elevate the film.

You think you know where the story is heading, but of course there's more going on than meets the eye, the presence of Mark Andrews, and his reason for being there changes the whole story.

The acting is a mixed bag, the young Jon Whiteley is excellent as Erik, considering his age he offered up a lot more than several of his seniors here, Herbert Marshall, Lizabeth Scott and George Cole were all good, if I'm totally honest I found Steve Cochran a little wooden.

6/10.