Les folles nuits de Sammy Lee

I saw this upon its original release in 1963 and loved. Never having being able to see it again I was sorry to miss it at a rare BFI Southbank showing last year and now here it is on DVD. To be honest, I remember enjoying it despite its gambling debt theme but now find this an annoyance. The b/w cinematography is still wonderful and this is a great portrayal of early 60s Soho, when it was more Jewish and Italian than Chinese and gay as it is now. Later in the 60s I was old enough to visit pubs and music venues and recall that older prostitutes still stood on the corners, though not anymore. There is still a buzz to the place and the street layout is unchanged but it doesn't have quite that jump and dare accurately depicted here. Newley is excellent in the central role and is well supported by Wilfred Brambell and Julia Foster.

I remember the Soho shown here so well.I used to walk through Soho on the way to the cinema.It has changed so much since this film was made.Newley gives a marvellous performance as the huckster trying to raise what would now be £5500 to pay his gambling debt or face a beating.Soho was in the grip of gangsters at this time and Could be a violent place The camerawork was superb.You get the impression that Newley is being filmed from a hidden camera.Probably his best role.

Made and released in 1963, this film gave Newley a real meaty role instead of the light comedy, musical roles he was usually cast in. The original BBC play was a one man, one scene event, but the full Soho, London locations gave the film a more murky, underworld feel and you really felt for Sammy Lee, although you realised he was his own worst enemy! Beautifully photographed in black and white, atmospheric and with Newley at his acting best. Well worth a viewing. Excellent support from Wilfred Brambell (Steptoe) as Newley/Sammy's dresser, and Julia Foster putting in a suitable innocent performance as the love interest who has fallen for Sammy's charms (lies).

Anthony Newley is at the top of his game here as the eponymous nightclub host who is way past his best. His lame one-liners have long since stopped engaging his dwindling number of punters who now only show up for a cheap drink and a eyeful. His on stage failures are not his only worries. He couldn't pick a winner in an one-horse race and is in hock to his bookie for money he can never hope to raise, and they are not about to let him off. He is also in love - but even that's complicated with "Patsy" (Julia Foster) being embroiled in the business he shares with the odious and sleazy "Gerry" (Robert Stephens). There's a who's who of solid supporting British characters here that help depict a Soho, now long gone, that did deserve it's nickname as a square mile of vice and depravity. Wilfred Brambles, Warren Mitchell and Roy Kinnear all add a gritty richness to the poignant adaptation of his BBC play by auteur Ken Hughes and it's clear from early on that an happy ending - for anyone - is most unlikely. Hughes conveys the seediness and the ghastliness cleverly. There's virtually nothing graphic, or even especially violent - here. That's all left to our imagination and to the gradually increasing sense that "Sammy Lee" has seen his finest hour. He just has to hope it's not soon to be his last. I didn't always like the Newley brand of Londoner, but in this he delivers engagingly and I almost felt sorry for him at times!

I recently watched this movie in a newly made print with German subtitles during an Austrian film festival which showed a retrospective of the work of Wolf Suschitzky, the D.O.P. of this movie. Though 95 years old, he was present and I asked him afterward about the superb quality of the picture with "the blacks as real blacks and the whites glaringly white". It was probably shot with English Ilford stock of low sensitivity. Suschitzky pointed out that the most important thing is the quality of the print material and how experienced labs can handle this. I recommend this movie for anyone seriously interested in black and white film work and for getting moody, well-lit images in a real naturalistic location. Suschitzky tried to avoid bare grays so the grain won't show and even under night conditions there are parts overexposed and therefore white. Overall this movie has a great speed made-up of daring images, a superb jazz soundtrack and fast editing. Fortunately, it doesn't have a hand-held look, every image is carefully lit and composed. It is an enjoyable journey into the live of a very nervous and hasty man who doesn't seem to get anything right and instead is digging into trouble deeper and deeper. Unfortunately, it doesn't seem to be available on DVD right now so watch out for the cinema experience.