Chantage à Soho

As well as being an entertaining picture, this is a realistic examination of crime and criminals. The descent of the photographer, essentially a decent enough man, into crime, and his staying with it even when offered an out, is very well handled.

We see there are three main things keeping crime in check. The police of course, but also pushing victims until they crack and are no longer rational and predictable, and rivalries among the insanely greedy and self-centered people we call criminals.

My TV guide gave this a very lukewarm review and I nearly didn't bother with it, but I'm glad I did.

Fascinating & slightly risqué B-pic with a good edge to it,Augie Cortona(Terrace Morgan) is release from prison & sets about reclaiming his underworld business from his former henchmen & colleague Gollar(Harry H Corbett) who's taken control of his protection & prostitution racket & left Augie out in the cold until he bumps into out of work photographer Jessup Brown(Donald Pleasance).The two of them Set up in business as a high class agency which is a front for Augie's blackmailing activities in which Jessup get caught up in the corruption which leads him to drink,one is not what she appears to be & Augie soon becomes attractive to her & along with Augie's sidekick Spettigue, Gollar is sorted out with beatings being dispatched & life's fine for Augie. With nightclubs & small racketeers the police are hot on his heels, this film hit the spot well,with pretty Hazel Court.

There's something rewarding about discovering a solid but unknown film from the past... like finding $50 in the pocket of a suit you haven't worn since last summer. This British gangster exploitation flick is such a film. THE SHAKEDOWN is so much better than it ought to be that it's kind of amazing. It's hardly even listed in any major movie review books. Still, I'm not ashamed to say this is without question a minor low budget UK noir gem and absolutely worthy of any crime drama (or 50s British cinema) fan's time. I saw it last year at the American Cinematheque Film Noir festival in Los Angeles and it was the wrong print! They meant to screen the American noir called SHAKEDOWN, but the audience and myself are forever grateful for the error as this movie is edgier, pulpier and just plain better.

The plot concerns a con returning after a stretch in the pokey and finding his turf has been taken over. He adapts and finds some new angles with a photography / blackmail shoppe only to get embroiled in police intrigue and a bad gangwar. As plots go, this one hangs together well despite some seemingly calculated titillatory edges. There are some unexpected and enjoyable twists thrown in as well for good measure.

The best aspect of this movie is the tough guy lingo and no-nonsense characterization. There's something particularly enjoyable about the straight ahead narrative. No smoke and mirrors or flashcut editing or deep focus trickery here; just simple, reliable point-the-camera-and- shoot storytelling. But forget any deep analysis; this is at its heart a compelling man-against-the-system tale and finally a very enjoyable moviegoing experience. Seek it out... this one is great English fun!

THE SHAKEDOWN is a fine British thriller and one of the best B-movie crime films I've seen from the era. It's a film blessed with a strong cast of familiar faces and an interesting, atypical storyline that's much, much more than your usual detective-pursues-robbers type tale from this era. The action is centred in and around a photography studio, where an ex-con has apparently gone straight after serving a long jail term. However, the studio is a front for something much more sinister, and the police are baffled on how to proceed.

The underrated star Terence Morgan (CURSE OF THE MUMMY'S TOMB) takes the main protagonist lead as a character you love to hate. Certainly he has much more depth of character than is usual for a stock villain in these films, and you even end up admiring his bravado at some points. The rest of the (excellent) cast includes the lovely Hazel Court as a top model, Bill Owen as a ne'er-do-well, Robert Beatty as the detective, Donald Pleasence as an alcoholic photographer, Eddie Byrne as a barman, Gene Anderson as a gangster's moll, Harry H. Corbett as a criminal, Paul Whitsun-Jones as a boozer, Edward Judd as a barber, and the likes of Angela Douglas and Jackie Collins as young models. That cast alone is rather incredible.

The cherry on top is really the quality of the script, by director John Lemont (of KONGA infamy) and Leigh Vance (WITNESS IN THE DARK). It twists and turns all over the place and even if you have some idea of what the ending is going to be, you've never quite sure what's going to take place along the way. The sequence in which Morgan robs his former accomplices is my favourite moment and a real highlight in an undeservedly forgotten minor film.

This film should be studied by all who seek info on a type of film popular for a while in 50's and 60's Britain. Although obviously of limited budget, it fielded an unusually fine cast including several stalwarts and many actors and actresses - Hazel Court, Donald Pleasance, Harry H Corbett who went on to greater things and starred the extremely underrated Terence Morgan,three years before he became known as TV's "Sir Francis Drake". The film is also something of an historical document, bringing back a time when nightclubs were uncommon, close and intimate and hoping to cater for a select clientelle instead of loud and bleary as they are now. The plot has holes in it but the acting is of a high standard which more than redeems the film.