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THE INFORMERS aka UNDERWORLD INFORMERS (Dir: Ken Annakin, 1963).
Based upon Douglas Warner's novel Death of a Snout. The Informers, released in the US as Underworld Informers is a police procedural drama shot in a quasi-realist style.
Chief Inspector 'Johnno' (Nigel Patrick) investigates the murder of an underworld informer or 'snout' (John Cowley) linked to a series of bank robberies masterminded by gangsters Bertie Hoyle (Derren Nesbitt) and Leon Sale (Frank Finlay). Hot on the their trail, the hoods set 'Johnno' up so as to appear to have accepted a bribe. On suspension, he takes the law into his own hands and with the help of Ruskin's brother sets to bring the gang to justice.
Ken Annakin was a talented filmmaker, prolific in his time but vastly underrated today. With The Informers he delivers a crime drama which, 56 years after release, still feels uncompromisingly gritty.
Standouts among the cast are the distinctively voiced Nigel Patrick as the wronged 'Johnno' and Harry Andrews as his tough superintendent. Derren Nesbitt makes for a thoroughly unpleasant bad guy, while impressing further down the cast is Colin Blakely as the brother of the murdered snout.
The movie can be seen as something of a ‘missing link’ between the depiction of the friendly copper of TVs Dixon of Dock Green (1955 -76) and the more complex characterisation of the police force in The Sweeney (1974-78). Indeed, it seems ahead of its time in its depiction of the police and their relationship with the criminal underworld. It benefits from use of London locations from the banks of the Thames to backstreet Soho dives, shot in crisp black and white by cinematographer Reginald Wyer.
Some of the characters in Alun Falconer and Paul Durst's screenplay do border on stereotypes, while the climatic big punch up between good(ish) guys and the bad guys verges on the comic, but overall this is still fairly hard-hitting stuff.
With some stylish direction from Annakin and a quality cast The Informers is a solidly entertaining, if occasionally nasty, gangland thriller.
Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of The Informers. Link below.
MURDER SHE SAID (Dir: George Pollock, 1961).
The first in a series of four MGM-British murder mysteries staring the incomparable Margaret Rutherford as Agatha Christie’s amateur sleuth Miss Marple.
Adapted from Christie's 1957 novel '4:50 from Paddington', Murder She Said sees Miss Marple witness a murder on a passing train. When the police won't listen to her, she takes matters into her own hands. Surmising that the body must have been deposited at the nearby Ackenthorpe Hall, she poses as a maid and finds employment at the stately home. Here she is perfectly placed to investigate the family and staff who would all appear to have motive for murder. Meanwhile the killer racks up a few more bodies.
This has to rank as among the most lighthearted Agatha Christie adaptations, taking a far more comedic approach than usual.
Christie was reportedly unhappy with the casting of Margaret Rutherford. In fairness her Miss Marple is nothing like the one in the novels, but she attacks the part with such gusto and good humour that it is hard not to love her in the role. An invention of the movie is Miss Marple’s loyal companion and romantic interest Mr Stringer, played by her real life husband Stringer Davis. This relationship is a nice addition to the story which also serves the practical purpose of allowing Miss Marple to convey some necessary exposition to the audience.
Excellent support is offered, especially from James Robertson Justice as the bedridden family patriarch and keep an eye out for future Miss Marple Joan Hickson further down the cast.
In its depiction of a quaintly dated post-War Britain, Murder She Said seems both of its time and oddly timeless. Christie purists may carp that too many liberties are taken with the original text and no one would suggest that this is a definitive telling. But to criticise it as such would be kind of missing the point. Murder She Said is enormously entertaining with superb performances from some British acting legends. It is all very silly, but also very funny and with some genuine moments of suspense. An excellent, infectious score by Ron Goodwin adds to the fun.
Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of Murder She Said. Link below.
MURDER MOST FOUL (Dir: George Pollock, 1964).
MGM’s third outing for Agatha Christie’s amateur sleuth Miss Marple, with the incomparable Margaret Rutherford in the title role.
Investigating the murder of a blackmailer, Miss Marple bluffs her way into theatrical troupe the Cosgood Players, with whom the victim has a previous association. The old girl knows she is on the right track as more troupe members are disposed of. Anyone of the players has possible motive for murder, and Miss Marple is soon in danger herself as the killer gets wind of her snooping.
As with the previous series entry Murder at the Gallop, this movie is based upon a novel featuring Christie’s Belgian detective Hercule Poirot, in this instance her 1952 novel Mrs McGinty’s Dead. As before, Poirot is elbowed out the picture to make way for Miss Marple.
Once again Rutherford attacks the role of Miss Marple with relish! While nothing like the literary incarnation, she injects the role with such goodnatured bluster that its impossible not to love her interpretation. A strong supporting cast of Brit acting legends adds to the fun. Returning from previous adventures are Charles Tingwell as the long suffering Inspector Craddock and Rutherford's real life husband Stringer Davis as Miss Marple's chaste love interest Mr Stringer.
As with other titles in the series, Murder Most Foul is not necessarily one for Christie purists. Great liberties are taken with the original, not just the recasting of the lead character. However, the movie is a lot of fun. Director George Pollock skillfully judges the overt comic tone with the more serious business of murder. There are genuine thrills to be found as the mystery unfolds to a neatly suspenseful, not too obvious climax.
In truth, Murder Most Foul differs little from the two previous outings. But happily, what worked before works again and the formula still feels surprisingly fresh. Unfortunately Miss Marple doesn't delight us with her twist again, or any other fad dances for that matter. But as compensation she does perform a priceless rendition of Robert W Service's poem The Shooting of Dan McGrew, which alone makes the movie worth a watch!
A longer, more in-depth review of MURDER MOST FOUL is available on my blog JINGLE BONES MOVIE TIME! Link below.
MURDER AHOY (Dir: George Pollock, 1964).
The fourth and final entry in MGM’s Miss Marple series.
Here the amateur sleuth boards the retired battleship HMS Battledore, now used by charity Trust for the rehabilitation of juvenile delinquents, in order to investigate the death of one of the charity's trustees. It is anything but plain sailing as more crew members are bumped off and Miss Marple's own life is at risk as she uncovers embezzlement and theft on board.
The only title in the series not directly based on an Agatha Christie novel; the opening credits bear the legend “original screenplay by David Pursall and Jack Seddon based on their interpretation of Agatha Christie’s Miss Marple”. The wording here is key as, with a markedly more comic tone, this is definitely Pursall and Sneddon’s interpretation rather than Christie’s. However, having previously adapted three Christie novels, the writers prove more than adept at recreating a murder mystery with twists and turns worthy of the author.
Wary that the franchise was in need of a refresh, the decision to set much of the movie on board the HMS Battledore gives it a slightly different flavour from other series entries. With Miss M spending much of the film aboard ship she relies heavier than usual on her land based contact and constant companion Mr Stringer (Stringer Davis). It’s nice for Davis to have a bit more to do and this different dynamic also serves to shake up the formula somewhat.
Again, Rutherford is wonderful as Miss Marple; nothing like the character in the books, but an excellent comic creation in its own right. As always, a cast of familiar vintage British stars offer sturdy support, most notably Lionel Jeffries whose terrific comic performance as ship's Captain Sydney De Courcy Rhumstone almost steals the movie from Rutherford.
Like its predecessors Murder Ahoy is all very silly, yet also highly entertaining. Purists may disagree, but this naval nonsense is hard lnot to warm to and concludes the series in ship shape fashion.
To read a longer, more in-depth review of MURDER AHOY visit my blog JINGLE BONES MOVIE TIME! Link below.
THE ALPHABET MURDERS (Dir: Frank Tashlin, 1965).
A comedy thriller based upon Agatha Christie’s 1936 novel The ABC Murders in which Belgian's finest, Detective Hercule Poirot (Tony Randall), investigates a series of murders, each victim being bumped off in alphabetical order. Chief suspect is the dubiously initialed Amanda Beatrice Cross (Anita Ekberg).
The Alphabet Murders was an attempt by MGM to repeat the success of their series of comic mysteries adapted from Christie’s Miss Marple stories. Returning are Marple scriptwriters David Pursall and Jack Seddon, while directing duties are handled by former Warner Brothers animator Frank Tashlin. Tashlin brings his Termite Terrace cartoon sensibilities to the movie, setting out its kooky objectives from the opening, when Tony Randall addresses the camera first as himself and then in makeup as Poirot. With Tashlin's knack for visual humour, and some striking black and white photography courtesy of cinematographer Desmond Dickinson, the film is a visual treat.
Unfortunately, the quality doesn't extend to story treatment. As an Agatha Christie adaptation The Alphabet Murders is pretty unsatisfying. What it is, however, is a showcase for the considerable talents of Tony Randall. Randall’s is a fantastic performance, over the top and pantomimic to be sure, but his Poirot is a great comic creation. An excellent support cast including Anita Ekberg and Robert Morley (as Captain Hastings) also register strong performances.
Yet, despite the efforts of much of the Miss Marple team, and a cameo appearance by those movies stars Margaret Rutherford and Stringer Davis, The Alphabet Murders was not a success. Somehow the elements that worked so well for Marple just don’t gel for Poirot. Possibly the character was not as well suited to comedic interpretation or maybe the overtly American sensibilities of director Tashlin was not suited to something moored so much in Britishness.
While The Alphabet Murders must be considered a disappointment, it is certainly not a disaster. In truth there is much in the movie to enjoy, all depending on how one approaches it.
150+ movie reviews now available on my blog JINGLE BONES MOVIE TIME! Link below.
NIAGARA (Dir: Henry Hathaway, 1953).
Marilyn Monroe's breakthrough performance in an unusual film noir, distinguished by its use of eye-popping three strip Technicolor.
Arriving at Niagara Falls for a delayed honeymoon, the affable Polly Cutler (Jean Peters) and her husband Ray (Max Showalter, billed here as Casey Adams) encounter the altogether odder married couple Rose (Monroe) and George (Joseph Cotton) Loomis, visiting the Falls six years after their own honeymoon in an attempt to rekindle their relationship. Recently discharged from a mental institution, the troubled George is scarred by his experiences in the Korean War and seemingly an ill match for the voluptuous Rose. Darker motives are apparent as Polly spies Rose in the embrace of another man. When George mysteriously disappears Polly suspects murder, but has a hard time convincing her husband and the authorities until George reappears and the fatalities begin to mount.
Read the full review on my blog JINGLE BONES MOVIE TIME! Link below.
ALL THE MONEY IN THE WORLD (Dir: Ridley Scott, 2017).
Based on events which shocked the world back in 1973, All the Money in the World relates the story of Pablo Getty (Charlie Plummer), 16 year old grandson of billionaire oil baron J Paul Getty (Christopher Plummer) who was kidnapped and ransomed for $17,000,000. Pablo’s mother and estranged daughter-in-law of Getty, Gail (Michelle Williams) cannot pay the fee and appeals to Getty Snr. Though a pittance to a man of his standing, Getty refuses to put up the money; instead hiring ex-Fed Fletcher Chance (Mark Wahlberg) to investigate the abduction.
Best known for big budget sci fi and widescreen epics such as Blade Runner (R Scott, 1982) and Gladiator (R Scott, 2000), Ridley Scott may seem an odd choice to direct the true story of a kidnapping. But Scott proves his versatility in an impressively mounted, sometimes morbidly gripping thriller.
Read the full review on my blog JINGLE BONES MOVIE TIME! Link below.
New review! Van Johnson spins a web of intriguing in Web of Evidence! Read my review of this Brit crime flick here:
There’s a memorable scene in Skyfall where none other than James Bond suggests to his gay nemesis that he might have had sex with men. (Daniel Craig delivers his line – “What makes you think this is my first time?” – as Javier Bardem caresses Craig’s thighs.) I thought that was a cultural moment, evidence of a real shift. A man can be tough, sexy and bi.
But as the Amazon reviews show, more than a few American men believe that a gay protagonist belongs on a special gay bookshelf.
It will take more than a supreme court ruling to change their minds.