FLAWLESS. Magnolia Pictures, 2007. Demi Moore, Michael Caine, Lambert Wilson, Nathaniel Parker. Director: Michael Radford.

   Any movie with this title ought to be good – better than good, in fact, maybe even perfect – but all I can tell you is that this movie is only better than good. It’s a story that takes place in England and inside the headquarters of the world’s largest diamond exchange.

   It’s also the story of a female executive (Demi Moore) who keeps getting passed over for promotions when in fact it is her suggestions the firm is often acting upon, and a janitor (Michael Caine) who has not only a plan but a motive (his wife’s death) to steal a handful of diamonds – they’ll never miss them, he tells her. All he needs is the combination, he says, and she’s the only one who can get it for him.

   Janitors, it turns out, are never noticed, even when they’re in the same room where confidences are being made, and they’re also privy to all kinds of information carelessly tossed into the trash. She’s being terminated, he tells her, or at least her job is. Sure enough, he’s right. And she’s in.

   There is a twist that I didn’t see coming that comes along next, and telling you even that is more than I think I should, but every other review you read is going to tell you this or more, and by the time you read the next post on this blog, probably tomorrow, you’ll have forgotten anyway.

   Any movie with Michael Caine in it is going to be good, if only for the scenes he’s in, and Demi Moore, looking noticeably older than she did in G. I. Jane, say (1997), is a much better actor than I think she’s given credit for.

   She always has this innate sense of vulnerability about her performances, even those in which she’s as strong a character as she is in G. I. Jane, which makes all her roles all the more interesting, even in films that (I admit) are not all that strong to begin with.

   Getting back to Michael Caine, though, he’s definitely the man with a plan – he’s been waiting for his chance at revenge for a considerable length of time, so obviously he’s had plenty of time to work out the details. Only his strong British accent – Cockney? I’m no expert – can possibly flaw his performance here, and then in terms of American ears only.

   I’m ambivalent about the framing device for this movie, but surprisingly enough – I hate prologues – it’s the ending which I found to be the weaker bookend, possibly a little too preachy to some minds?

   Well, perhaps. Not enough to mar the show, though, which is turn moderately clever and suspenseful, and which I plan to watch again for all of the little things I’m sure I missed — or maybe even to nitpick the flaws a little more thoroughly. The first time, though, I mostly sat back and enjoyed the top-notch performances of this movie’s top two stars.

DAVID DODGE – To Catch a Thief. Random House, hardcover, 1952. Reprint paperback: Dell #658, 1953. Film: Cary Grant, Grace Kelly, Jessie Royce Landis, John Williams, Charles Vanel, Brigitte Auber. Screenplay: John Michael Hayes. Cinematography: Robert Burks. Directed by Alfred Hitchcock.

       *Spoiler Warning*    (As if anyone reading this doesn’t know the ending.)

   For whatever reason, American writers in general haven’t fared as well as the British when it comes to international adventurers and jewel thieves (though one of the greatest of them all was Louis Joseph Vance’s Michael Lanyard, the Lone Wolf, and American Jack Boyle gave us Boston Blackie), so it is only fitting that one who did was the cosmopolitan David Dodge, who knew the Riviera like the back of his hand.

   Dodge was well known for his tales of CPA slash detective Whit Whitney and South of the Border private eye Al Colby when he wrote this, but I don’t think most readers were ready for an American who did the whole Riviera scene as suavely as any Brit.

   He also had a good ear and feel for rogues, slightly bent heroes who might have to think a bit before doing the right thing.

   Somehow he managed to present them flaws and all as real human beings and not sociopathic thugs or emotionless robots. You tended to identify with and root for a Dodge hero without feeling guilty about it.

   I won’t go into a lot of plot detail. Almost everyone reading this has likely seen the Alfred Hitchcock film (and if you haven’t, stop now, find it, and see it — it’s one of the best pictures of its kind ever made and unfairly overlooked by some because it does what it does so effortlessly) and knows the basic story. John Robie, an expatriate American living on the Riviera was once the infamous pre-war jewel thief known as Le Chat, the Cat to the world press.

   Captured and sentenced just before the war Robie and his fellow crooks — many friends from his career as a circus aerialist (*) — are freed from prison by a bomb and join the Resistance to fight the Nazi occupation using their criminal skills. As a result, after the war they receive full pardons. Robie salted away his profits, bought a villa, and retired to grow his roses — even though some of his friends urged him to resurrect the Cat.

   But someone has done just that, and the police are sure Robie is up to his old tricks. He escapes the police, contacts a Lloyds insurance investigator, and armed with a list of the most valuable targets begins to hunt the new Cat.

   Meanwhile he finds himself falling for a headstrong American woman whose mother is on the list of the most likely victims and facing the enmity of his old friends — some of whom resent the renewed police pressure the Cat has brought on them, some of them who may be working with the new Cat.

   What I want to concentrate on here are the few differences between the novel and the film. They aren’t as many as usual, but never the less make for an interesting contrast of novel into film.

   The novel opens as does the film with John Robie (Cary Grant) eluding the police via an escape plan left over from his days as the Cat. He goes underground and contacts some of his old ‘friends,’ including the sexually precocious daughter of one of them who has long had a crush on him.

   As in the film he is captured, but the police reluctantly have to let him go. Having met the Lloyds insurance man, he contacts him and convinces him to take a chance on Robie’s innocence and join in the hunt for the new Cat. Posing as an American businessman he checks into the Hotel Midi and sets out to get close to American heiress Frances Stevens (Grace Kelly), who doesn’t wear jewelry, and her mother (Jessie Royce Landis)who clearly does.

   Complicating things in the book is his desire to avoid hurting his honest friend Paul, who has trusted him. The character doesn’t appear in the film.

   Other than some small differences the book is very close to the film until the end, when there is quite a bit of variation. As in the film Robie sets a trap for the Cat and a man is killed, but Robie knows that the man, the father of Danielle (Brigitte Auber), cannot be the Cat because he was crippled during the war. And so he has to go to the rooftops in order to corner the real Cat.

   But the police aren’t interested in his theory and if he is caught on a roof at a robbery it could mean a lifetime in prison or death. Still, he convinces Francie to help him (in the book Paige, the insurance man has already paid off and given up) trap the new Cat.

   In the book — Robie’s honest friend Paul has fallen in love with Danielle, and Robie has to not only capture the Cat, but when he does, he has to return the jewels and save the new Cat from paying for her crimes all while avoiding the suspicious policeman Lepic (a good example of Dodge at play since slang for a French policeman is Le Flic).

   What makes the novel worth the effort even if you have seen the film a million times (and I’m probably going on a million and one) is Dodge’s rare skills as a writer. There is nothing showy about it, but he is one of the best suspense novelists of his era, writing clean intelligent prose that reads more like the cool British thrillers of Victor Canning or Max Murray than the hard boiled American voice — though Dodge managed to stay well within that mode at the same time in a virtually unique combination of voice and style.

   What holds you as you turn the pages of To Catch A Thief is not only the charm of the characters and the skill of the plotting, but the writing which is deceptively simple:

   Later:

   And still later on the rooftop of a villa waiting for the Cat:

   Dodge wrote a number of good stand alone thrillers after To Catch a Thief (Angel’s Ransom, The Lights of Skaro, and Carambola) and they are well worth reading, including his final novel, The Last Match recently published by Hard Case for the first time. His books are sophisticated, well written, and stylish in execution and design, the international adventure thriller done to a T.

   A friend of mine who was a mining engineer in Western Australia and other places that were the back of the beyond said whenever he could he traveled with a Dodge book in his few belongings. That’s about as good a tribute as any thriller writer can ask for, and one Dodge fully deserves.

(*)   In case you ever wondered just how perfectly Cary Grant was cast as John Robie, in his youth Grant had been a circus gymnast.

Previously reviewed on this blog:

    Shear the Black Sheep   (by Steve Lewis).

THE NIGHT OF THE FOLLOWING DAY. Universal, 1968. Marlon Brando, Richard Boone, Rita Moreno, Pamela Franklin, Jess Hahn. Based on a novel by Lionel White. Co-screenwriter & director: Hubert Cornfield. Co-director (uncredited): Richard Boone.

   After Gunn and P. J., this latest excursion back into my tawdry youth ended with The Night of the Following Day, co-written and directed, mostly, by Hubert Cornfield, based on The Snatchers, a Gold Medal paperback novel by Lionel White.

   The film was originally intended to star Richard Boone, but Marlon Brando, whose career was in eclipse at the time, owed Universal a movie, and Cornfield, who had done a few interesting B-films, jumped at the chance — only to have Brando bully him around the set and ultimately off the picture, which was finished by Richard Boone.

   Whoever’s responsible, this is a unique, moody and suspenseful piece, with sparse dialogue that sounds largely improvised around a plot that keeps falling apart. A young heiress is kidnapped by a very businesslike band of outsiders that includes Brando, Rita Moreno, Jess Hahn and Richard Boone.

   The professionalism quickly dissipates, though, when it develops that Moreno has a drug habit, Boone enjoys hurting their captive, and Hahn suffers from delusions of competence, leaving Brando to try to hold things together through a slow build-up to an impressively violent resolution.

   Slow-moving, I’ll grant you, but Night has an atmosphere of growing nastiness that keeps one watching. Performances are refreshingly natural throughout, and the plot twists itself nicely.

   All of which is very nearly spoiled by one of the lousiest endings ever committed on film, but like most endings, this one comes late in the film, after some very stylish action and a lot of suspense.

      Steve,

   Here’s another “Man On The Run” question: I recently watched Odd Man Out with James Mason and could you or David recommend any other urban-type MOTR films? Whether they be wartime, comedic or western doesn’t matter much.

   I am interested in a city atmosphere. I imagine Escape from New York would be one although that is a little too sci-fi for my tastes. Anything at all that comes to mind would be of enormous assistance to me.

         Best,

            Josh

      — —

   This is, of course, a follow-up to David Vineyard’s four Top Ten lists of “Man on the Run” thrillers posted here about three weeks ago. Naturally I tossed the question on to him, graciously offering to let him tackle it. Here’s his reply:

   Hmm, urban man on the run films — there are quite a few of those, so I’ll limit myself a bit. Obviously Odd Man Out is an excellent choice, but here are a few more. Just to keep from going too far astray I’ll stick to ones where the protagonist is on the run in an urban setting rather than what I call ‘hunt the man down’ films like Panic in the City or M which feature classic manhunts.

   These are in no particular order, and vary as to genre (spy, crime, etc.). I’ll also leave off films like Desperate Hours and He Ran All The Way where the bad guy hides out in a home in an urban setting, that’s a genre to itself. Not included, but worth checking out, is The Lost Man with Sidney Poitier, a reworking of Odd Man Out set in the ghetto. Not really a success, but worth seeing. Others:

This Gun For Hire. (Based on Graham Greene’s novel.) Alan Ladd, Veronica Lake, Robert Preston, Laird Cregar. Remade as Short Cut To Hell, directed by James Cagney and as a television movie with Robert Wagner. Stick to the original.

Street of Chance . (Based on Cornell Woolrich’s Black Curtain). Burgess Meredith, Claire Trevor. Amnesiac is hunted as he tries to regain his memory. Also an episode of The Alfred Hitchcock Hour (reviewed here ) with Richard Basehart.

Dark Corner. (Novel by Leo Q. Ross — Leo Rosten.) Mark Stevens, Lucille Ball, William Bendix, Clifton Webb. Private eye Stevens gets help from secretary Lucy when he is set up for murder — great noir film with outstanding performances by all — especially Webb and Bendix.

The Fugitive. Harrison Ford, Tommy Lee Jones This made the first list due to the train wreck and the dam escape in the first part of the film, but much of the action takes place in Chicago making good use of the urban setting and that city in particular.

A Man Alone. Ray Milland. Noirish little western directed by Milland about a fugitive trying to clear himself of a murder in a small town. Perhaps not gritty or urban exactly but tense and claustrophobic. His The Thief set in New York is also worth checking, done with sound, but no dialogue.

The Confidential Agent. (Novel by Graham Greene.) Charles Boyer, Lauren Bacall, George Colouris. Boyer is in London to get help for his cause (Republican Spain in the novel) surrounded by enemies and Fascist agents, falling for Bacall who aides him.

Night and the City. (Based on the novel by Gerald Kersh.) Richard Widmark, Gene Tierney. Great film as Widmark’s wrestling promoter tries to avoid the fixers he has double-crossed in London. Skip the remake with Robert De Niro.

Whistling in Brooklyn. Red Skelton, Ann Rutherford Third film of Red’s series of films about radio sleuth the Fox has him on the run from crooks and cops in Brooklyn including a hilarious turn as a bearded baseball player with the real Brooklyn Dodgers. Probably not what you are looking for, but entertaining.

The Sleeping City. Richard Conte. Once controversial film finds undercover cop Conte in big city hospital ferreting out corruption and with every hand against him.

Twelve Crowded Hours. Richard Dix, Lucille Ball Offbeat and entertaining B of reporter and girl racing to clear an innocent man.

Dr. Broadway. MacDonald Carey Early Anthony Mann film and part of a proposed series that never developed has young doctor getting involved with gangsters and finding himself hunted by crooks and cops. Based on the pulp stories of Borden Chase.

Somewhere in the Night. John Hodiak, Lloyd Nolan A war hero with amnesia returns to his home town where he was a less than honest private eye and finds himself pursued by everyone.

D.O.A. Edmond O’Brien One of the greats. O’Brien is hunting down the man who poisoned him, but at the same time he is literally on the run from death as his time runs out.

Slayground. (Based on the Richard Stark novel.) Peter Coyote is Parker hunted in an amusement park.

Side Street. Farley Granger Part time postman Granger steals some money and finds himself hunted on all sides. Beautiful use of location work in NYC, expertly directed by Anthony Mann. Great car chase finale in a careening taxi.

My Favorite Brunette. Bob Hope, Dorothy Lamour, Peter Lorre, Lon Chaney Jr. Early spoof of film noir staples (1947, yet they hit them all) as baby photographer Bob is mistaken for private eye Alan Ladd and finds himself hunted by the crooks who want heiress Lamour’s money and the cops who think he is a murderer.

The Web. Edmond O’Brien, William Bendix, Vincent Price. Bodyguard O’Brien gets framed by boss Price in good noir mystery.

Take One False Step. William Powell, Shelly Winters Powell gets involved with Winters and wanted by the police in entertaining tale with script by Irwin Shaw based on his own story.

Dark Passage. (Novel by David Goodis.) Humphrey Bogart, Lauren Bacall. Bogie is an innocent man who escapes prison, Lauren always believed he was innocent and helps him hide out, get plastic surgery, and catch the real killer. Extensive use of the subjective camera from the hero’s point of view for the first half of the film (until Bogart emerges after the plastic surgery).

The Big Clock. (Novel by Kenneth Fearing.) Ray Milland, Charles Laughton, Maureen O’Sullvan Editor at Time-like magazine conglomerate is framed for murder of the publisher’s mistress and ends up hunting himself in the claustrophobic building where he works. Remade as No Way Out and ‘borrowed’ countless times.

Ride the Pink Horse. (Novel by Dorothy B. Hughes.) Robert Montgomery, Thomas Gomez. Tough guy out for revenge and blackmail of vacationing gangster in New Mexico tries to elude killers and police during carnival. One of the greats of film noir. Remade for television as The Hanging Man with Robert Culp.

Mirage. (Based on the novel by Howard Fast.) Gregory Peck, Walter Matthau. Amnesiac loses his memory (or regains it partially) in a blackout and is hunted as he tries to piece his story back together by his former associates.

Arabesque. (Novel by Gordon Cotler.) Gregory Peck, Sophia Loren. While evading spies and assassins Peck and Loren try to put together puzzle involving a threat to a visiting Arab prince in largely comic caper from Stanley Donen (Charade).

Nowhere to Go. (Novel: Donald MacKenzie.) George Nader, Maggie Smith. A thief in London tries to evade police and fellow crooks in this excellent sleeper with notable jazz score by Dizzy Reece.

The Limping Man. Lloyd Bridges. Man finds himself on the run in London from a false charge.

Interrupted Journey. Richard Todd. Man on the run with another woman in suspenseful film — until the end.

Captive City. John Forsythe. Small town newspaper editor finds himself a fugitive in his own town in well done noir film based on a true story.

It Takes All Kinds. Robert Lansing, Vera Miles. Lansing accidentally kills a sailor and Miles hides him out.

The Whistler. (Based on the radio series.) Richard Dix. Solid entry to the B-series in which a man tries to cancel the contract he took out on his life when he thought he was dying.

Rampage. (Novel: Allan Calliou.) Robert Mitchum, Elsa Martinelli, Jack Hawkins. Mitchum and Martinelli find themselves hunting a killer leopard Hawkins has set free in Munich while Hawkins hunts them.

Arch of Triumph. (Novel: Erich Maria Remarque.) Charles Boyer, Ingrid Bergman. Paris on the eve of the Fall with refugees desperate to escape.

Saboteur. Robert Cummings. The second half of the film has innocent Cummings on the run in New York trying to stop the spies and clear his name including the famous Hitchcock shootout in the movie theater, the ship sinking (based on the suspected sabotage of the Normandie), and the finale atop the Statue of Liberty with assassin Norman Lloyd. And if you can call Monte Carlo urban or gritty, To Catch a Thief.

Cairo. Richard Johnson, George Sanders More or less a remake of The Asphalt Jungle but with a bit more of the urban man on the run theme for Johnson’s half breed character at the end.

Bedeviled . Anne Baxter, Steve Forrest. Seminary student Forrest helps Baxter when she is witness to a murder.

Christmas Holiday. (Novel by W. Somerset Maugham.) Gene Kelly, Deanna Durbin. Durbin tries to hide and protect her sociopathic killer hubby Kelly, directed by noir great Robert Siodmak. Kelly is good in unsympathetic role.

All Through The Night. Humphrey Bogart, Conrad Veidt, William Demarest, Judith Anderson. Bogie is a Runyonesque gambler who is framed for murder of Edward Brophy when he stumbles on a ring of fifth columnists. Genuinely funny film with a great cast including Jackie Gleason, Frank McHugh and Phil Silvers. Watch for the scene where Bogie and Demarest double talk a room full of Nazi saboteurs. Great looking film too with serial-like action and sharp script.

I Wake Up Screaming. (Novel: Steve Fisher.) Victor Mature, Betty Grable, Laird Cregar. PR man Mature is framed for murder and on the run in glitzy New York in this noir classic. Remade as Vicki with Jeane Crain, Eliot Reed, and Richard Boone.

Man Hunt. (Based on the novel Rogue Male by Geoffrey Household.) Walter Pidgeon, Joan Bennett, George Sanders. While this Fritz Lang film is a classic of the man hunted in rough country, the scenes in London with Pidgeon shadowed by Nazi agents and his deadly battle with killer John Carradine in the underground are fine examples of the chase film done in an urban setting. Those aspects are largely missing from the well made Rogue Male with Peter O’Toole. Lang recreates the subway setting in his serial killer manhunt film While The City Sleeps.

The Quiller Memorandum. (Novel: Adam Hall — Elleston Trevor.) George Segal, Alec Guiness, Max Von Sydow. Segal’s Quiller finds himself on the run in West Berlin in well done spy film with a screenplay by Harold Pinter.

27th Day . (Novel by John Mantley.) Gene Barry. Preachy but entertaining sf film of group of people from different nations hunted by everyone when aliens give them the power to destroy the world and twenty-seven days to decide whether to use the power.

Ministry of Fear. (Novel: Graham Greene.) Ray Milland, Dan Duryea. Fritz Lang film of amnesiac Milland framed and on the run and the hunt for a spy ring in wartime London. Atmospheric.

The Game. Michael Douglas, Sean Penn. Doesn’t really hold up, plus it’s mean-spirited, but Douglas finds his life turned upside down when his brother gives him an unusual birthday present

Kiss the Blood Off My Hands. (Novel: Gerald Butler.) Burt Lancaster, Joan Fontaine. Ex-POW accused of murder hiding out in London in noirsh film.

The Killers. (Story by Ernest Hemingway.) Burt Lancaster, Ava Gardner, Edmond O’Brien Insurance investigator O’Brien unravels the story of Swede (Lancaster) a one-time boxer who got involved with crooks who he double crossed and then was hunted down and killed by. Hemingway’s favorite film of his work though only the first few minutes of the film actually recreate the story. William Conrad and Charles McGraw memorable as the killers. Ava Gardner just plain memorable. Remade by Don Siegel with Ronald Reagan (his last film and only villain), Angie Dickinson, Lee Marvin, and John Cassavettes.

Enemy At the Gates. Joseph Fiennes, Jude Law, Ed Harris. Semi-fit of the theme as Russian sharpshooter Fiennes and German sharpshooter Harris hunt each other in the devastation of the battle of Stalingrad.

Five Fingers. James Mason, Michael Rennie. Valet turned spy in WWII Istanbul must evade British and German agents when he is revealed. Based on a true story if not the true story.

Behold a Pale Horse. (Based on the novel Killing a Mouse on Sunday by Emeric Pressberger.) Gregory Peck, Omar Sharif, Anthony Quinn. Again a mix of rough country and city chase. Legendary gunman Peck returns to Franco’s Spain to assassinate brutal Fascist police chief Quinn and becomes object of a manhunt.

The Paris Express. (Based The Man Who Watched the Trains Go By by Georges Simenon.) Claude Rains. Meek embezzler finds himself hunted for more than he expected.

   And since we started with James Mason and Carol Reed we’ll end with James Mason and Carol Reed:

The Man Between. James Mason, Claire Bloom. In post-war Berlin black marketeer Mason falls for Bloom and finds himself torn between East and West and hunted by both.

   But for this list more than the others I think we can count on numerous additions.

             — David

AFRAID TO TALK. Universal, 1932. Sidney Fox, Eric Linden, Louis Calhern, Tully Marshall, Edward Arnold, George Meeker, Berton Churchill, Robert Warwick, Frank Sheridan, Mayo Methot, Matt McHugh, Thomas Jackson, Gustav von Seyffertitz, Joyce Compton, George Chandler, Arthur Housman, King Baggot, Walter Brennan, Margaret Lindsay. Screenplay by Tom Reed, based on the play Merry Go Round by Albert Maltz and George Sklar. Photography: Karl Freund; editor: Milton Carruth; art direction: Charles D. Hall and Edgar G. Ulmer. Director: Edward L. Cahn. Shown at Cinecon 45, Hollywood CA, September 2009.

   This superbly crafted crime thriller hit the Saturday evening audience with all the force of a speeding train and never let up in its character-driven 69 minute drive.

   Eric Linden and Sidney Fox, popular young players of the time, are the titular stars, with Linden the witness to a gangland killing who, after being promised immunity for his testimony, is framed by a corrupt Assistant D. A. (Louis Calhern).

   There’s not a weak link in the cast, but Calhern, a smooth career politician with not a shred of morality, gives an unforgettable performance. And the final, ironic scene undercuts any sense that the era of corrupt politics is finally over.

DAY OF THE WOLVES. Gold Key, 1973. Richard Egan, Martha Hyer, Rick Jason, Jan Murray, Jack Bailey, Percy Helton, Herb Vigran. Screenwriter-producer-director: Ferde Grofé Jr.

   There is something to be said about production values. You have to have a story to begin with, but without a budget to back it up and without a director to make the actors sound good and look better, the whole business of making movies is a waste of time.

   Case in point, right here. This is a nifty tale of a gang of seven men, individually recruited and deliberately kept uninformed of each other’s identities (known to each other only by numbers), who take over a small isolated town by locking up the small police force and robbing all the main businesses in organized fashion over a period of three hours or so.

   Jan Murray (the comedian and TV game show host) is Number One, the leader of the group, and Richard Egan is the sheriff who’s just gotten fired (by a pitifully weak city council) and even so is the only man in town willing and able to fight back. Martha Hyer as his wife does not have much a role, this movie coming very much toward the end of her career.

   The plan does not go off without a hitch, as I hope I’ve led you to believe, but it’s still a good one — the plan, that is — and watching the gang of seven put it together and try to pull it off makes for entertaining viewing.

   The photography and camera angles are poor, however, bargain basement level, the sound man was in a different truck, and what this movie desperately needed and didn’t get was a director who, as I said above, was able to put his actors in the best possible light.

   The production is flat, in other words, and with the Hollywood cast mixed in with local townspeople (Lake Havasu City, Arizona) and only a little exaggeration, it was sometimes difficult to tell the difference (Richard Egan and Jan Murray being two notable exceptions).

   I didn’t much care for the ending, not as much as I’ve read what others have had to say about this movie. I think personally that Ferde Grofé had run out of cleverness at that point, and went with the obvious. Money for a better movie he never had all along.

UNDERWORLD. Paramount Pictures, 1927. George Bancroft, Evelyn Brent, Clive Brook, Fred Kohler, Helen Lynch, Larry Semon, Jerry Mandy. Based on a story by Ben Hecht, adapted by Charles Furthmann. Director: Josef von Sternberg, who replaced the fired and uncredited Arthur Rosson.

   The relevation of Cinevent 1979 for me was the silent film classic, Underworld. George Bancroft plays a self-confident gangster lord with a beautiful mistress (Evelyn Brent) and an educated, alcoholic friend (Clive Brook) who try to smooth his rough edges and find themselves drawn to one another in the process.

   The action is blunt and swift, but the genius of this film is in the direction of the actors (“My God, but they had faces then!”) and the superb playing of this unlikely trio, the kind of ensemble performance that also contributed greatly to the success of The Glass Key and all those other melodramas we doted on before television pulped the genre.

   There’s a final shoot-out that makes similar scenes in 1930’s gangster films look like well-laundered exercises in politesse, and the old melodramatic device of the secret passage is revitalized and made a necessary and believable part of the action.

   The camera work is remarkable (Sternberg was making great films long before he began to exploit Dietrich), with details that come from an older theatrical tradition that makes most recent melodramas look like uneducated exercises in bumbling.

   The film was meant to be shown with blue and yellow filters (for night and interior scenes), but this obscured the. photographic detail to such an extent that the projectionist abandoned the attempt after about twenty minutes.

   And anyone who thinks that silent films were primitive should be tied to a chair and forced to watch this and any number of other equally accomplished productions until he admits defeat.

THE STRANGLER. Allied Artists, 1964. Victor Buono, David McLean, Diane Sayer, Davey Davison, Baynes Barron, Ellen Corby, Jeanne Bates. Screenplay: Bill S. Ballinger. Director: Burt Topper.

   Very much in the Zugsmith mold, but in fact directed by one Burt Topper, The Strangler is a wonderfully perverse and to-the-point bit of sickness put out when no one was looking.

   Victor Buono stars delightfully as an emotionally-constipated mama’s boy who gets off (and I mean that literally; the close-ups of his face leave no doubt about the sexual nature of his acts) strangling nurses and leaving broken dolls at the scene of his crimes.

   Nasty stuff, done with pleasing simplicity and not a bit of wasted time by a mostly-undistinguished director who seems here to have risen to the occasion. Credit must be shared with Bill S. Ballinger’s no-nonsense script, and art direction by Eugene Lourie, no less, but it’s primarily Victor Buono’s compelling performance that carries this thing off.

   Fauning over an arcade girl, fretting about his sick mama, or just flitting prissily amid the mid-60s decor of sterile hallways and plastic furniture, he commands our full attention, disgust and even a bit of sympathy, in a bit of great acting where no one looks to find it.

TREAD SOFTLY STRANGER. Renown Pictures, UK, 1958. Diana Dors, George Baker, Terence Morgan, Patrick Allen, Jane Griffiths, Joseph Tomelty. Based on the play “Blind Alley” by Jack Popplewell. Director: Gordon Parry.

   Although not a perfect film noir, this one, made in England toward the end of the original noir era, comes very very close. In terms of images, including that of Diana Dors’ character who acts as the catalyst in sending the lives of two brothers headlong into disaster; a soundtrack that includes the constant throbbing of the industrial town where all three live, day and night; and a story with more than enough twists and turns to show that fate has more control over our lives than we’d like to believe – they’re all here.

   Johnny Mansell (George Baker) is living the life of his dreams in London, but when he dreams too high, he has to leave in a hurry, with gamblers and a small fortune in debts close at his heels. Forced to move in with his brother Dave (Terence Morgan) in a small strictly utilitarian apartment, he discovers that the platinum blonde nightclub singer Calico is the lady whom Dave has been spending all his money on.

   Calico, of course, is played to perfection by Diana Dors, she of the fabulous hourglass figure that overflows so abundantly on top, and more of a fatale femme you cannot imagine. Dave has been so smitten by her that he has been stealing from the mill where he works as an accountant, and the auditors are coming.

   Having no other alternatives, robbery is his only way out, he decides, and Johnny returns from a surreptitious but successful jaunt back to London too late to stop him. Even worse too late to keep from being involved himself when Dave’s plans go terribly wrong.

   As for Calico, as I said earlier, she is but the initiating factor. She didn’t ask Dave to give her things, but he is determined to give them to her.

   She in turn is in love with Johnny, or so she says, but he is determined not to believe her. Diana Dors, besides being a beauty, a stunning one even in black and white, is also good enough as an actress that we (the viewer) do not know whether to believe her either.

   Not that it matters greatly, as events are not under her control either. These three unfortunates both do and do not deserve their fates, and it’s with a certain amount of inevitability that their destinies turn out so badly.

   So – all of the right ingredients, but something’s missing, and it’s been difficult to say what it is. I think it may be, however, that the story releases its edge and its tension a little too soon.

   Once the two brothers are forced to start answering questions, you know that the movie’s over. The timid bookkeeper Dave is simply not going to hold up. He’s weak, both he and Johnny know it, and so do we the viewer, a few scenes too soon and well before the curtain falls.

   But if the ending is only ordinary, what precedes is not bad at all, and in my book, seeing Diana Dors at the peak of her beauty is worth more than the price of admission, several times over.

THE DIAMOND WIZARD. United Artists, US/UK, 1954. Released as The Diamond in the UK. Dennis O’Keefe, Philip Friend, Margaret Sheridan, Alan Wheatley, Francis De Wolff, Paul Hartmuth. Screenplay: John C. Higgins. Story Dennis O’Keefe, based on the novel Rich Is the Treasure (1952) by Maurice Procter. Directed by Dennis O’Keefe & Montgomery Tully.

   When a US Treasury agent is killed by British smugglers who have stolen a million dollars, a perfect diamond is found in his mouth. Perfect except for one thing — it’s artificial; and perfect artificial diamonds are a threat to both the British and American economies.

   So Treasury Man Joe Dennison (Dennis O’Keefe) is dispatched to England to team up with Special Branch’s Inspector Hector ‘Mac’ McClaren (Philip Friend) to track down the smuggler (Francis De Wolff) who is using a million dollars in stolen money to buy the artificial diamonds.

   The case gets more complex when lovely Marline Miller (Margaret Sheridan) shows up. She’s the niece of nuclear physicist Dr. Miller (Paul Hartmuth) who has gone missing — and once a romantic connection for Dennison.

   Following a handful of clues the police begin to tie the two cases together ending in an explosive climax somewhere between Edgar Wallace and Ian Fleming as they uncover something more sinister than flooding the diamond market afoot.

   This little film, directed by O’Keefe during a brief period when he fled to England like many other American actors of the period, is nothing new or great, but entertaining and loosely based on a novel by British mystery writer Maurice Procter, itself expanded from a novella “The Million Pound Note.” (Proctor is best known for his series of Inspector Harry Martineau police procedural novels.) The thrills are of the standard variety, but well enough done.

   There’s the usual master criminal, the usual mad scientists, some nasty thugs, and two tough honest cops. The difference between the American and British police style is played as complimentary rather than conflicting, and the scenes of the artificial diamonds being created have the nice SF touch of the kind that used to dominate German Expressionist cinema.

   This is an entertaining little film, not much more than a programmer, but coming in at 83 minutes it moves nicely and never really slows down for a breather. O’Keefe probably got the inspiration for this from his American film Walk a Crooked Mile (1948; Gordon Douglas, dir.) teaming him with Louis Hayward, with the latter the Scotland Yard man out of place in the US.