Friday, July 24, 2015

On the Avenue (1937)

On the Avenue is a bright and breezy 1937 20th Century-Fox musical that combines romance, laughs, a couple of impressive production numbers and some fine tunes courtesy of Irving Berlin.

Even by the standards of movie musicals the plot is thin, to say the least. Broadway star Gary Blake (Dick Powell) has a new hit stage production. The highlight of the show is a sendup of the home life of America’s richest girl. The troubler is that America’s richest girl, Mimi Caraway (Madeleine Carroll), is in the audience and she is not amused. Nor is her father, Commodore Caraway (George Barbier). Nor is her intended husband, famed polar explorer Frederick Sims (Alan Mowbray). They were targets of the satire as well. The Commodore wants to sue but his lawyer advises him that he has no grounds for doing so. Mimi Caraway has her own ideas on settling the score with Gary Blake.

Of course you know that Gary and Mimi will end up falling in love. And of course there has to be a complication - Gary’s co-star Mona Merrick (Alice Faye) is in love with him as well.

But this is a Hollywood musical so who cares about the plot? It might be thin but it provides plenty of opportunities for romance, comic relief and songs and being a species of backstage musical there’s an excuse for staging some fairly spectacular production numbers. In true Hollywood musical style these production numbers could not possibly actually be accommodated on a stage but thanks to the magic of the movies we accept them anyway.

Dick Powell had plenty of experience in musicals by this time. He’s particularly likeable in this one and he gets to show a few flashes of the real acting talent that he would develop in his very different 1940s movies. Madeleine Carroll couldn’t sing so she doesn’t but she still makes a satisfactory leading lady and handles the comedy side with ease. Mimi Caraway is supposed to a spoilt rich girl and Carroll conveys this effectively without becoming obnoxious.

Having a non-singing leading lady means that Alice Faye gets ample opportunity to demonstrate that she most certainly could sing. All three leads deliver the goods without any problems. George Barbier has plenty of fun as the blustering but basically good-natured Commodore.

There is one fly in the ointment. To provide extra comedy we have the Ritz Brothers, surely the unfunniest comedy team in the history of movies. They’re like a very low-budget version of the Marx Brothers but entirely lacking in any talent whatsoever. Luckily they don’t get enough screen time to ruin the movie.

On the Avenue features some of Irving Berlin’s best-known songs including the classic I’ve Got My Love To Keep Me Warm. The extended production number The Girl in the Police Gazette is a highlight for its use of so many interlocking sets. This Year's Kisses gives Alive Faye the chance to really put some emotion into a song. It’s also a highlight while another of her numbers, Let’s Go Slumming, is equally good. Faye and Powell are both in fine voice.

The music is not just good - there’s plenty of it. This is after all what musicals were all about so this is obviously a major plus.

Roy Del Ruth had a long and distinguished career as a director and proves he can handle the musical genre very competently indeed.

The screenplay (by Gene Markey and William L. Conselman) provides enough amusement to keep the audience happy in the interludes between the songs.

Fox’s Region 4 DVD is barebones and the transfer is less than stellar. This is a somewhat neglected 30s musical. I suspect that if Fox were prepared to spend the money on a decent Blu-Ray release it might cause this one to be re-evaluated in a much more positive fashion. 

On the Avenue doesn’t get side-tracked by tedious social commentary. It has no real aim other than to provide an hour and a half of delightful entertainment and it achieves its aim in a very satisfactory fashion. With so many great Irving Berlin songs this one is really a must for classic musical fans. Highly recommended.

Saturday, July 18, 2015

Bulldog Drummond Comes Back (1937)

Bulldog Drummond Comes Back was released in 1937, part of Paramount’s extensive series of B-movies based on the immensely popular thrillers of H. C. McNeile (who used the pseudonym Sapper). 

Bulldog Drummond Comes Back was based on McNeile’s excellent 1928 novel The Female of the Species, and it adheres reasonably closely to McNeile’s story. An old enemy of Drummond’s is out for revenge and she intends to use Drummond’s wife Phyllis as the means by which to achieve this. Phyllis is kidnapped and Drummond is supplied deliberately with a series of tantalising clues, the aim being to ensure that his suffering will be as prolonged as possible.

It’s a story idea that has been used countless times but both the novel and the movie execute the idea with enough energy and imagination to keep things exciting.

Drummond’s old friend Colonel Neilson of Scotland Yard (John Barrymore) is anxious to help but Drummond knows that Phyllis’s survival depends on his willingness to keep the police out of the matter. Colonel Neilson however is determined to become involved anyway, without Drummond’s knowledge.

Captain Drummond can also rely on the willing if not always effective assistance of the faithful Algy Longworth (Reginald Denny) and the somewhat more useful assistance of his butler Tenny (E. E. Clive). 

Hugh and his pals are led a merry chase through the English countryside accumulating the needful clues. There’s more action than is usual in a thriller of this vintage and the villainess’s diabolical plot provide the opportunity for some effective suspense and some quite well-executed thrills.

It has to be said that this is one 30s B-movie that wastes no time in plunging us into the action. The brisk pacing is maintained throughout the 64-minute running time.

Director Louis King spent a lengthy career churning out competent B-features and he knows his stuff. Despite the inevitably tight B-picture budget he does a fine job. Edward T. Lowe Jr had been writing for movies since 1912 and his screenplay is tight and captures the breathless flavour of McNeile’s novels rather well. 

This movie has all the essential ingredients of a fine B-thriller - disguises, secret codes, hidden trapdoors, narrow escapes and just enough romance and humour to season the  derring-do.

No less than thirteen actors eventually attempted the rôle of Captain Hugh Drummond. The one thing they had in common was that all were quite wrong for the part. In this film John Howard plays Drummond for the second time (and would do so on five subsequent occasions). He is spectacularly wrong for the part. Drummond should be bigger, beefier, louder, more boisterous and much much uglier. Drummond’s taste for schoolboy humour is also entirely lost in the film adaptations.

That’s not to say that John Howard’s performance is bad. He’s quite adequate but much too smooth and polished. He just isn’t Bulldog Drummond.

I do like the scene in which Drummond summons Tenny not by any of the normal methods for communication with a servant but by firing his revolver into the ceiling. That at least is an authentic Bulldog Drummond touch. 

Algy and Tenny both provide some comic relief but unusually for a 1930s B-movie the comic relief is genuinely amusing and it’s kept strictly within bounds. Helen Freeman brings a suitably sinister glamour to her performance as the evil Irena Soldanis. John Barrymore has plenty of fun as Colonel Neilson.

My copy of this movie comes from Mill Creek’s 50-movie Mystery Boxed set. The transfer is adequate by the standards of cheap public domain sets.

While Ray Milland, who played Drummond in Bulldog Drummond Escapes, was a considerably better actor than John Howard Bulldog Drummond Comes Back is overall a better and more satisfying movie. It’s an excellent example of just how good 1930s B-thrillers could be. It’s fast-paced and exciting and hugely enjoyable. Highly recommended.

Friday, July 10, 2015

A Date with the Falcon (1942)

A Date with the Falcon, released at the beginning of 1942, was the second film in RKO’s successful Falcon B-movie series. The studio had had considerable success with their cycle of B-movies based on Leslie Charteris’s The Saint, with George Sanders playing the hero Simon Templar. The problem was that Charteris wasn’t happy with the movies and pulled the plug on them. RKO promptly bought the rights to another remarkably similar character, The Falcon, and proceeded to make a series of Falcon movies. The Falcon series was effectively a continuation of the Saint series, with Sanders again playing the lead, and was in fact so similar that Leslie Charteris sued them for plagiarism.

The Falcon had been created by Michael Arlen in a 1940 short story. In the story the hero’s name is Gay Falcon. For the movies he was renamed Gay Laurence with The Falcon being a nickname. He was a wealthy playboy adventurer and part-time crime fighter. It’s really not difficult to see why Charteris felt so annoyed. 

Sanders went on to make four Falcon movies after which his brother Tom Conway took over the rôle (some of the Tom Conway movies, such as The Falcon in Hollywood, are pretty good).

A Date with the Falcon begins with Gay Laurence intending to give up his life of adventure. He is going to get married and settle down with Helen Reed (Wendy Barrie). Of course it’s not going to be as simple as this. The Falcon is drawn, reluctantly (or perhaps not really so reluctantly), into a case involving the disappearance of a scientist who has perfected a method of producing perfect artificial diamonds. Considering the profits to be made from the diamond trade it’s not surprising that not everyone is pleased by his new invention. It seems that someone is displeased enough to resort to kidnapping, perhaps even to murder.

The Falcon also finds himself getting mixed up with the glamorous Rita Mara (Mona Maris), and this is something that does not please his bride-to-be Helen one little bit. Sorting things out with Helen may be more difficult than solving the actual crime!

There’s really just enough plot here for the 63-minute running time, with just enough twists to keep things interesting even if those twists are not overly original. The Falcon plays a double game and could easily find himself caught between the bad guys and the police but luckily he’s used to this sort of thing and can usually stay just one step ahead.

This movie suffers a little from that very common problem of 1930s/1940s Hollywood B-movies - there’s just a bit too much comic relief. Much of the comedy is courtesy of The Falcon’s unlikely wise-cracking sidekick Goldy (played by Allen Jenkins) although Helen Reed also provides even more comic relief. The comic parts are not excruciatingly awful, there are just too many of them and they slow things down. On the other hand it has to be admitted that there are some genuinely amusing gags and the window ledge scene is quite inspired.

Sanders by this time had vast experience in this type of part and he’s as smooth and charming as ever. Argentinian-born Mona Maris makes a very fine femme fatale with a touch of the exotic. James Gleason goes gleefully over-the-top as the hardbitten but sympathetic Inspector Mike O’Hara. 

Director Irving Reis does a generally competent if not exciting job. The movie gets off to a fairly slow start but the pace gradually picks up. In fact this is a movie that definitely gets better as it goes. 

RKO B-features of the 40s usually look pretty good with just a hint of the visual style soon to become indelibly associated with film noir. That’s not to say that there’s anything remotely film noir in any meaningful sense about this production, but it at least has a trace of visual grittiness at times.

The Falcon movies are available on made-on-demand DVD in two multi-movie sets in the Warner Archive series although I caught this one on TCM.

A Date with the Falcon is a good solid mystery thriller B-picture that fans of such movies should find quite enjoyable. Recommended.

Sunday, July 5, 2015

The Enemy Below (1957)

The Enemy Below is one of the classic submarine movies. It tells the story of a duel between an American destroyer and a German U-boat in the South Atlantic during World War 2. Dick Powell produced and directed the film which was based on a bestselling novel by Commander D. A. Rayner.

The U.S.S. Haynes has had an uneventful war and while it’s an efficient ship and morale is quite high the crew members are rather sceptical about their new skipper, Lieutenant Commander Murrell (Robert Mitchum). Murrell is not regular navy and his previous command was torpedoed and sunk by a U-boat. There’s some speculation that he may not know his business and that, even worse, he may have lost his nerve. 

The ship’s uneventful war is about to become very eventful indeed. They pick up a radar contact and Murrell is convinced it’s a U-boat. The closest supporting Allied ships are a long way away so it’s destined to be a one-on-one duel between the Haynes and the submarine. As Murrell admits, on paper the odds are slightly in favour of the submarine. Nonetheless Murrell is determined to to accept the odds.

It soon becomes obvious that the crew needn’t have worried about their new captain. Murrell does know his business. Unfortunately the U-boat’s commander, Kapitan von Stolberg (Curd Jürgens), is equally competent.

What follows is a tense cat-and-mouse game, with the difference that this mouse has teeth that are every bit as sharp as the cat’s.

This is a movie that doesn’t waste too much time giving us the backstories of the characters. We learn just enough about Murrell to know that he has good cause to be very determined to win this duel, and we learn enough about von Stolberg to know that he is an old-school German officer who regards the Nazis with contempt. While the “good German” can be a bit of a cliché in this case it’s absolutely necessary. This particular story can only work if the audience has equal sympathy with both sides. In fact that’s the whole point of the story - war might be unpleasant but it is possible to wage it with courage and honour and, paradoxically, war can forge unexpected bonds between enemies. Both Murrell and von Stolberg are brave and skillful officers and as their duel progresses they develop a healthy respect for one another. The crews of both the American destroyer escort and the German U-boat are also courageous and highly professional. They’re all men trying to do their duty as best they can. Perhaps the most remarkable thing about this movie is that it is a 1957 war movie in which not a single character expresses genuine overt hatred for the enemy.

In order to succeed this movie also needed not just good actors as the two opposing captains but actors with a great deal of charisma. Mitchum and Jürgens were ideal choices, and as well as charisma they are able to bring genuine humanity to their performances. The supporting players are less important but Theodore Bikel as von Stolberg's second-in-command 'Heinie' Schwaffer and David Hedison (in those days still going by the name Al Hedison) as the Executive Officer of the Haynes both do well. Look out for an impossibly young Doug McClure as a junior officer on the Haynes.

Dick Powell demonstrates considerable skill and judgment as director. This is a movie that wastes very little time in getting to the action. And once the hunt is joined the suspense is maintained relentlessly. There’s also plenty of action. The action scenes are exceptionally well done. 

The special effects are mostly impressive and the underwater sequences are convincing.

Not everyone will approve of the ending but I think that once you grasp the movie’s major theme it becomes obvious that it’s the right ending.

In 1966 The Enemy Below was remade (surprisingly well) as an episode of Star Trek, Balance of Terror. Even more surprisingly that episode preserves not just the basic structure of the story but the tone as well.

The Enemy Below has had a number of DVD releases including the one I bought - a double-movie pack from Fox which pairs it with an equally good British naval war movie, Sink the Bismarck. The movie was shot in colour and Cinemascope and the anamorphic transfer looks great.

The Enemy Below avoids the obvious temptation of pushing a simplistic anti-war message.  That’s not to say that it glorifies war but it has a more subtle message, that the experience of war can lead to mutual respect and even sympathy between enemies. This is an intelligent war movie that is also tense, exciting and thoroughly entertaining. In fact I rate is one of the best war movies ever made. Very highly recommended.

Monday, June 29, 2015

They Were So Young (1954)

They Were So Young (originally titled Mannequins für Rio) is a slightly odd inclusion in VCI’s Forgotten Noir DVD set. Although released under the Lippert Pictures banner it’s a 1954 West German production and to call it noir is stretching things quite a bit. However it’s not entirely without interest.

We start with the arrival in Rio of a group of girls from various parts of Europe. They have all been attracted by advertisements promising glittering careers as fashion models. Among the girls is Eve Ullmann (Johanna Matz), an attractive 20-year-old from Düsseldorf. 

Eve is innocent and a bit naïve but she’s not a complete fool. It doesn’t take her long to figure out what’s really going on at Madame Lansowa’s glamorous modeling agency in Rio - it’s a cover for white slavery!

Dutch girl Connie Voorhees (Ingrid Stenn) has figured things out as well. Eve and Connie decide to go to the police but the police either don’t or won’t believe Eve’s story. Then Eve remembers a handsome young American, Richard Lanning (Scott Brady), to whom she’d been introduced after her first fashion show. He’d tried to pick her up but in spite of that he’d seemed like a kind and decent young man and besides Eve knows from watching movies that handsome young Americans are always willing to help damsels in distress.

For once she gets lucky. Lanning really is a knight in shining armour. The trouble is that this white slaving gang is well-organised and has the support of some wealthy and powerful people. Eventually Eve and Lanning realise that these people might include Jaime Coltos (Raymond Burr), who happens to own the mine at which Lanning is employed as an engineer.

Rescuing Eve is obviously going to be quite a challenge, especially when she and Lanning  are stuck in the middle of the Brazilian jungle.

I suppose the atmosphere of corruption and the idea that Eve and Lanning aren’t sure who they can trust might give this movie some very very tenuous film noir credentials. Mostly though it’s a potboiler with some major exploitation elements.  That doesn’t mean it doesn’t offer a certain amount of enjoyment. The setting gives it a certain sleazy exotic glamour. Even though it relies mostly on stock footage to persuade us we’re in Rio it does just about succeed in convincing us. The fashion model angle and the exquisite clothes the girls get to wear add even more glamour. 

Of course this being 1954 the exploitation elements are handled with caution but in some ways that makes them all the more effective, and we’re certainly not left in any doubt as to the fate in store for the unlucky girls.

The highlight of the movie is Raymond Burr’s silkily menacing performance - he really was one of the most effective movie villains of the early 50s. Scott Brady does the noble hero thing fairly well, Johanna Matz is appealing and quite competent as Eve. Gisella Fackeldey  is delightfully evil as Madame Lansowa and Gert Fröbe also makes an appearance. One of the advantages of making a cheap B-movie in Germany in the 50s was that these were the only movies being made so you could get some pretty impressive actors who were grateful for any film work they could get.

Director Kurt Neumann was born in Germany but worked mostly in Hollywood, mostly in low-budget movies which included some minor sci-fi classics such as Rocketship X-M and The Fly. Within the obvious budgetary constraints of this film he does a very competent job.

VCI’s DVD offers a pretty good anamorphic transfer. Their Forgotten Noir Series 1 DVD set represents excellent value. Most of the six movies are reasonably entertaining with the George Raft feature Loan Shark being the standout. Portland Exposé is also not bad, and Arson Inc. is well worth a look.

They Were So Young is no masterpiece but it does offer a nice mix of sleaze and glamour, of romance and suspense, and Raymond Burr’s presence is a very big plus. Recommended.

Tuesday, June 23, 2015

Ring of Spies (1964)

Ring of Spies (also known as Ring of Treason) is a very low-key but effective little British espionage thriller. It was released at a time when the Bond movies were revolutionising the spy movie genre but this movie is about as far removed from the world of James Bond as one could possibly imagine.

Ring of Spies is based on the true story of the notorious Portland spy ring which was broken by MI5 in 1961. The film sticks surprisingly close to the facts, with one exception. The Portland spy ring was broken when the CIA was tipped off by a mole in the Polish intelligence service. The CIA passed the information on to the British Security Service (MI5) and the members of the ring were arrested by Special Branch officers in January 1961. At the time the film was made the source of the information that led to the arrests would of course have been top secret. In the movie the ring is uncovered by pure chance, which actually works better dramatically.

The movie opens with Harry Houghton (Bernard Lee), a clerk in the British Embassy in Warsaw, making an ass of himself at a garden party. It seems that this is just the latest in a series  of embarrassing misdemeanours and Houghton is shipped back to England in disgrace. He is then given a job in the Records office at the Admiralty Underwater Weapons Establishment at Portland.

Houghton is a chronic drunk and a womaniser. While at the British Embassy in Poland he has also been involved in various unsavoury activities such as black marketeering. His shambolic personal and professional life has attracted the attention of the Soviet espionage agency - he is obviously a promising target for blackmail. In fact Houghton doesn’t really need to be blackmailed into becoming a Soviet spy - he is happy to do it for the money. The problem is that Houghton doesn’t have access to top secret documents. On the other hand Elizabeth Gee (Margaret Tyzack) does have such access. Since Houghton has been trying to romance her anyway (he will romance anything in a skirt) he decides he can use her to get the documents.

The man who recruits Houghton for the Soviets is Gordon Lonsdale (William Sylvester), a smooth-talking Canadian with a taste for high living. The other key members of the ring are a middle-aged very inoffensive looking American couple, the Krogers, who are in fact long-term Soviet spies.

The spy ring is well organised but the big weakness is Houghton. He’s a drunk, he’s greedy and he’s a fool. Once he starts getting big money for his treason he starts spending up big, which of course is just the sort of thing that is going to attract the attraction of the British counterintelligence people. Low-ranking civil servants who work in a top-secret defence establishment and start living well beyond their means do tend to attract suspicion.

The movie’s approach is very low-key indeed, in some ways even veering towards a semi-documentary feel. While there’s none of the action of a Bond movie there is a great deal of focus on what spies like to call tradecraft - the techniques of espionage and counterespionage. The spies have sophisticated secret radio transmitters and coding machines, they have equipment for photographing documents and for producing microdots. The counterintelligence services make use of listening devices and around-the-clock surveillance. There’s an emphasis on the elaborate methods used to set up meetings to pass on stolen documents and on the patient and painstaking process of keeping a watch on suspected spies. This aspect is one of the film’s strengths, giving it the kind of realistic feel associated with the spy novels of John le Carré.

It’s great to see Bernard Lee get the opportunity to break away from his more usual roles. Houghton is a sad, seedy, sleazy, pathetic little man with a chip on his shoulder. He’s rarely sober, his judgment is abysmal, he pus the moves (very crudely and obviously) on every woman he encounters. He had served in the Royal Navy but was considered to be unsuitable officer material, an injustice he puts down to his not having attended the right schools. It’s more likely he was simply lacking in the necessary intelligence and application. Lee does extremely role in what really is a very unsympathetic role.

Margaret Tyzack is equally good as Elizabeth Gee, the mousy spinster seduced by the money, glamour and excitement of being a spy. American William Sylvester was a regular in British B-movies of this era, always giving solid performances. This film gives him one of his best roles and he makes the most of it.

Director Robert Tronson spent most of his long career in television. That’s possibly an advantage here - this movie’s ultra low key approach makes it seem more like a television than a cinematic production but it also gives it the the right feel of drab ordinariness. 

There is perhaps just a hint of film noir here, with Houghton and Gee being too stupid and too blinded by greed to realise just how dangerous a game they’re playing.

Network’s Region 2 DVD offers an excellent anamorphic transfer. There are virtually no extras but the price is very attractive.

Ring of Spies is a taut effective suspenseful spy thriller in the gritty realist mode (although without the violence often associated with that approach). These are very ordinary very realistic spies and it’s their ordinariness that makes them so dangerous. Highly recommended.

Wednesday, June 17, 2015

October Moth (1960)

October Moth is included in Network’s Edgar Wallace Mysteries: Volume 1 DVD boxed set. The set includes half a dozen out of the forty-seven low-budget British mystery thrillers based on Edgar Wallace stories made at Merton Park Studios for Anglo-Amalgamated at the tail end of the 50s and the beginning of the 60s. Edited versions of these movies were screened on American TV as the Edgar Wallace Mystery Theatre but they were released theatrically in Britain.

October Moth is however a bit of a ring-in - it wasn’t made at Merton Park, it wasn’t released by Anglo-Amalgamated and it isn’t based on an Edgar Wallace story. Network have for some curious reason decided to include it as an extra on this set, which was rather nice of them since it’s not a bad little movie. It’s a psychological thriller of the sort that the British did supremely well in this period, with a bit of a film noir-esque feel to it.

Polly (Lana Morris) lives on an isolated and very primitive farm with her brother Finlay (Lee Patterson). Finlay is seriously crazy but mostly he’s harmless. At least he’s harmless when he doesn’t manage to convince himself that Pa is coming back. Pa was a violent drunk who made the lives of both his wife and their children a living Hell. He’s dead now, but the trouble is that Finlay has never understood this - he still thinks Pa is likely to return at any moment. In fact in some ways he hopes that Pa does come back - if he does he intends to kill him.

Finlay has a habit of wandering about by himself after dark, and getting himself into trouble. He has a fascination with moths, and with fire. Now he’s managed to get himself into a real scrape, having accidentally caused a car accident. The woman driver is injured and Finlay brings her back to the farm. That would be fine except that he’s convinced that the woman is his mother (which of course she isn’t since his mother is dead as well). Now Polly faces a tricky situation. She has to persuade Finlay to let her get help for the woman, which Finlay is unwilling to do because he thinks his Ma is going to be taken away from him. Usually Polly can handle Finlay but in this case his delusions have taken such a firm hold that he’s quite unmanageable. And he has a loaded gun and he’s waiting for an opportunity to shoot Pa.

The arrival of Tom, a telephone linesman (played by Peter Dyneley who is better remembered as the voice of Jeff Tracy in Thunderbirds), might provide Polly with a chance to get medical treatment for the injured woman. Or it might just make a tense and dangerous situation even more explosive.

This was John Kruse’s only directing gig. Kruse had a fairly impressive career as a writer, mostly for television although he also wrote a few features including the underrated psychological thriller Revenge (1971). Kruse also wrote the original screenplay for October Moth

October Moth takes place almost entirely at night, providing the opportunity for the effective use of shadows to enhance the paranoid atmosphere. For a low-budget feature it’s visually quite impressive.

Canadian-born Lee Patterson made a lot of B-pictures in Britain in the 50s. October Moth gives him a real acting challenge and he does a fine job - he’s able to make Finlay both scary-crazy and tragic-pathetic and do it quite convincingly. Lana Morris’s career started promisingly but stardom eluded her, which is a pity as on the evidence of this film she was a fine actress.

Psychological thrillers are most likely to go off the rails when they try to offer explanations for the craziness of the protagonists. In this case the explanation is kept fairly simple and it comes across as perfectly plausible.

Despite the obscurity of this movie Network have managed to unearth an exceptionally good print. The anamorphic transfer is superb.

October Moth might be a low-key low-budget thriller but it’s certainly not lacking in psychological drama and nail-biting suspense. We know that the story is likely to end unhappily but we can’t be sure which of the characters might come to a tragic end. In the event the ending manages to pack the required punch. A fine taut atmospheric little thriller. Highly recommended.