Noir atmosphere was possible outside of America. As it was in the Great Britain, a country got experience of the most devastated armed conflict, had destroyed buildings and downfall of economy caused to entering of cards. After six years of ravaging ruling of Clement Attley, who brought a lot of socialism and nationalization of important enterprises, on Prime Minister post returned Winston Churchill since whom came a prosperity. The end of the war and the next decade was turn to active a process of decolonization. In that period, mostly appeared in theaters noir films were about gangsters in lead roles and around of them. Other flicks were about a regular person accused in crime, which he didn’t commit. No one time were stories on woman who seduces a man for her evil purposes, which usually it’s killing of wealthy person. A frequent pleasure in watching these movies was in seeing of Good Old England.
They Made Me a Fugitive (1947).
Filmmakers of B-movies of 40s and 50s for attraction of audience gave alluring speaking for themselves titles, which very often put in science fiction pictures. They Made Me a Fugitive was international name of this picture based on a novel A Convict Has Escaped whereas I Became a Criminal was in release in the United States. Trevor Howard plays a crook whom associates in crime set him up and he was caught and put in prison. He could release himself by telling on people whom framed him instead escape and look for them. No matter in that a basic villain harshly beaten ups woman who survives, there are witnesses and nobody decides to call police. That wasn’t possible to carry on with watching. A film has other misfires. Acting can be limping as it also was from Trevor Howard. Once director made a ruining decision in prison scene where a main hero has meeting. A camera takes his face, he speaks impressive monologue, but it’s effect breaks by switching on side camera.
The Long Memory (1953).
I was thinking on The Count of Monte Cristo in this movie. A lead hero Phillip Davidson in John Mills performance going to marry, being framed, plots revenge in prison and executes it. Not exciting in implementation in The Long Memory. Screenplay has holes and unexplained. How Spencer Boyd survived fire? And what was his stance in that moment, because it doesn’t show? The first act of vengeance isn’t suggestive. Davidson stays outside and causes fear for that one of personages who went against him and brings that last to giving testimony. Misfire in this, I can’t believe in this behavior. If admit it, but that should turn plot to other way as to interrogation of a woman on whom protagonist was wishing to marry while she perjured on him and made wedlock with other man (but not of those on whom the main hero wants retaliation as in Dumas’ novel.). It hasn’t point for watching. Nobody who put Davidson in cage didn’t think that he isn’t on constant term and he can back for justice after release.
Across the Bridge (1957).
Probably Graham Greene’s original short story had more comedy (which has presence as I found out.), because adaptation is always serious what causes mistake by unrealistic acts of personages and coming events as also that Rod Steiger’s truth would be revealed by police. However, law forces from both sides of border have no idea on procedures of arrest and transfer of person with crime. A very big regrettably that Across the Bridge has staggering conception, which about twist with changing of identity.
Dancing with Crime (1947).
I was short with Dancing with Crime. Behaviors of personages weren’t for understanding and have no motifs. A group of pathetic gangs whom people don’t take serious and with whose leader can make brazen acts and punch him in face for that criminal boss willn’t allow to his henchman kill that person on which was used inexplicable silencing gun sounded in shooting as it was release of dart. Peter Fraser who wrote original story and Brock Williams who adapted it into screenplay made without thinking efforts.
The Man Between (1953).
Warning! I will disclose plot’s details of genius The Third Man, which is the one excellent flick I ever saw in British noir.
Carol Reed is a director of The Third Man reuses elements of it’s movie for The Man Between. A town in ruins after war. A personage who makes amoral activities, relocates between zones and to whom a main hero in close feelings. I don’t consider that as a lack of imagination, because these things can be applicable in other way. There is a research process in art. The Third Man has intricate screenplay. The Man Between is overdramatized, a little in misfires as Germans speak English and later reveal simplicity in a story in which no development between personages. Harry Lime is imposing character in The Third Man and I alongside with Holly Martins saved in sympathy to him despite on what a person he is. James Mason is astonishing in performance and impeccable in making German accent while I hasn’t care to his personage and I didn’t want to watch on forty minutes of his escape with Claire Bloom’s heroine on whom didn’t disclose her love passion. Staging has wonderful shots (containing many Dutch angles and that’s fine.), but not every time impressive (when that is constancy in The Third Man.) and few times came up shoddy editing was hurting. Filming of West Berlin in that time was the biggest pleasant for my eyes. It shows the Brandenburg Gate, which without the wall nearby yet to erection of it still many years ahead.
