... but wasn't. If the Walmington-on-Sea Amateur Dramatic Society had been given a postal order for four pounds seventeen shillings and sixpence and invited to write, shoot and act out a film about Nazi contraband, the good burghers of Walmington would have come up with something slicker and more sophisticated than this.
Gregory Keen is a handsome American intelligence officer seconded to the British secret service in the wake of World War Two and the Berlin Blockade. His task is to thwart the nefarious plans of dastardly supercrook Dumetrius, "a man who's butchered his way half across Europe - and whom it's up to you to get!" (Yes, that really is quoted from the script.)
This awful British film of the Austerity period defines the term "amateurish". Clumsy fight scenes, un-scary bad guys like the cuddly Yotti Blum (Danny Green), a French secret agent with a crazy accent swanning around London wearing an inconspicuous beret, dreadful lines such as "You unclean cretin!" - need I go on?
The action, written and directed by someone called Maclean Rogers, is full from start to finish of absurd improbabilities. For the assassination attempt, why would the decrepit sexuagenarian Dumetrius (Ronald Adam) climb onto a rooftop with a rifle? Doesn't he have henchmen for that sort of thing? And how did he know that his 'target' would appear at this very window? In the warehouse denouement, how come the smoke doesn't move when the camera pans? It couldn't possibly be a cheaply overlaid special effect, could it? How come Rubinstein can give up half his fortune, which he protected from the rapacioua Nazis, with as much equanimity as if he were handing over a box of matches?
Coutts describes Dumetrius in one of the script's many indigestible mouthfuls as "cunning, ruthless, completely unscrupulous and will stop at nothing". One cannot help but wish that at least some of the bad guy's demonic energy had infused a few of the other people involved in this project. Nothing whatsoever in this feeble farrago comes close to being convincing. The appearance of Dumetrius, in disguise, on a routine military flight out of Berlin is plain ludicrous (wouldn't there be just the slightest risk that someone might KNOW the British officer he's trying to impersonate?), but no more ludicrous than the presence on the same flight of Hedy Bergner (Carole Matthews), the allegedly glamorous accordion player, journeying to London to play a single gig at a night club. Putting aside the universally-held view that the last time the accordion was a cool instrument was NEVER, what is she doing on a military transport? Was the accordion in so much demand in 1956? Wasn't Jimmy Shand available? And did she obtain that coiffure by letting the regimental goat chew her hair? Marzatti's is as trashy and unbelievable as one might expect - a night club depicted by someone who's never been to a night club, for an audience that has never been to one either. Why isn't Sally Jennings fazed when the strange man grabs her in the dark?
Richard Denning plays Keen, a phenomenon all too common in British films of the era - a token American, brought in to add "class". Well, compared to the rest of the movie, perhaps he succeeds. Such things are relative.
Gregory Keen is a handsome American intelligence officer seconded to the British secret service in the wake of World War Two and the Berlin Blockade. His task is to thwart the nefarious plans of dastardly supercrook Dumetrius, "a man who's butchered his way half across Europe - and whom it's up to you to get!" (Yes, that really is quoted from the script.)
This awful British film of the Austerity period defines the term "amateurish". Clumsy fight scenes, un-scary bad guys like the cuddly Yotti Blum (Danny Green), a French secret agent with a crazy accent swanning around London wearing an inconspicuous beret, dreadful lines such as "You unclean cretin!" - need I go on?
The action, written and directed by someone called Maclean Rogers, is full from start to finish of absurd improbabilities. For the assassination attempt, why would the decrepit sexuagenarian Dumetrius (Ronald Adam) climb onto a rooftop with a rifle? Doesn't he have henchmen for that sort of thing? And how did he know that his 'target' would appear at this very window? In the warehouse denouement, how come the smoke doesn't move when the camera pans? It couldn't possibly be a cheaply overlaid special effect, could it? How come Rubinstein can give up half his fortune, which he protected from the rapacioua Nazis, with as much equanimity as if he were handing over a box of matches?
Coutts describes Dumetrius in one of the script's many indigestible mouthfuls as "cunning, ruthless, completely unscrupulous and will stop at nothing". One cannot help but wish that at least some of the bad guy's demonic energy had infused a few of the other people involved in this project. Nothing whatsoever in this feeble farrago comes close to being convincing. The appearance of Dumetrius, in disguise, on a routine military flight out of Berlin is plain ludicrous (wouldn't there be just the slightest risk that someone might KNOW the British officer he's trying to impersonate?), but no more ludicrous than the presence on the same flight of Hedy Bergner (Carole Matthews), the allegedly glamorous accordion player, journeying to London to play a single gig at a night club. Putting aside the universally-held view that the last time the accordion was a cool instrument was NEVER, what is she doing on a military transport? Was the accordion in so much demand in 1956? Wasn't Jimmy Shand available? And did she obtain that coiffure by letting the regimental goat chew her hair? Marzatti's is as trashy and unbelievable as one might expect - a night club depicted by someone who's never been to a night club, for an audience that has never been to one either. Why isn't Sally Jennings fazed when the strange man grabs her in the dark?
Richard Denning plays Keen, a phenomenon all too common in British films of the era - a token American, brought in to add "class". Well, compared to the rest of the movie, perhaps he succeeds. Such things are relative.