John Desmond is an American newspaper journalist who has arrived in London to report on the British perspective of stateside politics. He begins dating an attractive brunette named Anna Ray, but she is secretive and volatile and often ends their dates prematurely. During an argument, Desmond snatches up her diary and Anna draws a gun on him. She is killed in the ensuing struggle and Desmond absconds with the diary. Anna, however, was mixed up with a gang of international counterfeiters and that diary contains a coded list of their contacts. Helped only by his secretary Jane, Desmond goes on the run and tries to decode the list in his search for answers.
John Gilling directed and co-wrote this chase thriller for Robert B. Baker and Monty Berman's Tempean Films, based on John Mair's novel Never Go Back. It's in the Hitchcock vein of North By Northwest and The 39 Steps and, though it cannot equal those classics (I'm on a lifelong quest to find a film that does), it certainly brings a fair bit of excitement and humour. Larry Parks had starred as crooner Al Jolson in two biopics for Columbia Pictures but, as a communist, he was blacklisted by all the major Hollywood studios and had to come to Britain to find work. He makes for an unmemorable lead here, however, but is supported well by the beautiful Constance Smith. Her character, Jane, is coolly efficient at the top of the film and becomes a plucky and resourceful heroine in the face of danger.
There are a whole bunch of good scenes in this one, including a bit in which Jane is followed on her way to a rendezvous with Desmond and outwits the heavies and even pulls her tongue at them! There's also a tense scene in which Desmond is kidnapped and roughly interrogated. He's up against a couple of old-school English bad guys (Cyril Chamberlain and Alexander Gauge) who are all silky-voiced suavity and chilling politeness ("Battered but unbowed, eh, Desmond? Why don't you speak up and spare us all this unpleasantness?"). He manages to confuse them enough to escape and is chased onto a railway line, where he starts offing the heavies. There's a nice bit of comedy when he hides out in a farm and meets a young Thora Hird (well, younger than we're used to - she was never young-young, was she?).
Until about three-quarters of the way in, I thought I was looking at a four-star film here. Even the comedic sequence in which Desmond is in hospital and apparently suffering with amnesia is good enough. For all that, however, the ending is underwhelming. There's a fight with Desmond and a heavy immediately before it, but there's no sign that it's the final fight. A car chase with the police doesn't feature Desmond, so feels perfunctory. There's a bit of ambiguity in the ending, too, and the message is one of regret, which leaves a bit of a bad taste in the mouth. Nevertheless, this is worth seeing and I think anyone who sat down with this film would have a good time.
John Gilling directed and co-wrote this chase thriller for Robert B. Baker and Monty Berman's Tempean Films, based on John Mair's novel Never Go Back. It's in the Hitchcock vein of North By Northwest and The 39 Steps and, though it cannot equal those classics (I'm on a lifelong quest to find a film that does), it certainly brings a fair bit of excitement and humour. Larry Parks had starred as crooner Al Jolson in two biopics for Columbia Pictures but, as a communist, he was blacklisted by all the major Hollywood studios and had to come to Britain to find work. He makes for an unmemorable lead here, however, but is supported well by the beautiful Constance Smith. Her character, Jane, is coolly efficient at the top of the film and becomes a plucky and resourceful heroine in the face of danger.
There are a whole bunch of good scenes in this one, including a bit in which Jane is followed on her way to a rendezvous with Desmond and outwits the heavies and even pulls her tongue at them! There's also a tense scene in which Desmond is kidnapped and roughly interrogated. He's up against a couple of old-school English bad guys (Cyril Chamberlain and Alexander Gauge) who are all silky-voiced suavity and chilling politeness ("Battered but unbowed, eh, Desmond? Why don't you speak up and spare us all this unpleasantness?"). He manages to confuse them enough to escape and is chased onto a railway line, where he starts offing the heavies. There's a nice bit of comedy when he hides out in a farm and meets a young Thora Hird (well, younger than we're used to - she was never young-young, was she?).
Until about three-quarters of the way in, I thought I was looking at a four-star film here. Even the comedic sequence in which Desmond is in hospital and apparently suffering with amnesia is good enough. For all that, however, the ending is underwhelming. There's a fight with Desmond and a heavy immediately before it, but there's no sign that it's the final fight. A car chase with the police doesn't feature Desmond, so feels perfunctory. There's a bit of ambiguity in the ending, too, and the message is one of regret, which leaves a bit of a bad taste in the mouth. Nevertheless, this is worth seeing and I think anyone who sat down with this film would have a good time.