Emily, a pretty young Irish girl, gets a job on an English farm owned by the Tallent family. The local men take to her but the women don't, objecting to her flirtatious nature with their ... See full summary »
Jerry McKibbon is a tough, no nonsense reporter, mentoring special prosecutor John Conroy in routing out corrupt officials in the city, which may even include Conroy's own police detective father as a suspect.
When the available evidence in a murder case points to a young woman as the main suspect, her boyfriend, a police detective, arranges for a struggling songwriter who is playing piano in a ... See full summary »
Luigi (Cesar Romero)is the owner of a pin-table saloon frequented by questionable characters and kept under constant police surveillance. He meets Barbara Gale (Kay Kendall), neglected wife of heavy gambler Gerald Gale (John Penrose) and after a brief romance, Barbara agrees to go away with Luigi. But Angelo Abbe (Simone Silva) is found stabbed to death in Luigi's apartment. Luigi asks his friend Limpy (Victor Maddern) to hep him hide the body but they are picked up by the police. Luigi escapes and sets out to prove his innocence while running from the law.Written by
Les Adams <firstname.lastname@example.org>
Cesar Romero runs a pintable bar: drinks, pinball machines, cotton candy, automatons. It gets rowdy, but he keeps things quiet. He's built up a bankroll and is getting ready to retire. Kay Kendall and her husband come in one night. Her husband drunkenly quarrels with Victor Maddern, Romero's gimpy handyman, but Romero settles it, and later is told that they wish to rent one of his fortune-telling machines for an evening. Romero delivers, but her husband is out of town, so Romero takes her out to dinner, charms her, and asks her to run away with him. She agrees.
However, Romero discovers Simone Silva, an old girlfriend he threw out, dead in his office. He tries to cover up the murder, but the police catch him. He escapes.
It's odd what can lift a good movie into the heights of excellence. Here it's the sound design, with the cheap and clamorous false joy of the marginal people of London. In addition, the soundtrack is aided by an excellent score, highlighted by the sad music offered by Tommy Reilly's harmonica. The story is good, highlighting the yearning of the characters to be better, yet caught in a web of darkness. It's one-time director Richard Vernon's only screenplay, but he clearly knew what he wanted to achieve, and got it.
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