An oddly coiffed Ian Carmichael got off to a false start in leading roles in this Technicolor & CinemaScope variation on 'Brewster's Millions', which fortunately for him was still sitting on the shelf when he made 'Lucky Jim'.
It was the only colour film shot by Hitchcock's regular cameraman of the thirties Jack Cox and the vivid hues engage the attention throughout (especially Renee Houston's flaming red hair) in a cynical subject which portrays fifties London as as full of con men, pickpockets, high maintenance blondes and wealthy Arabs able to afford forty-guinea-a-day hotel suites as Samuel Fuller and Jean-Pierre Melville did for New York and Paris in black & white.
It was the only colour film shot by Hitchcock's regular cameraman of the thirties Jack Cox and the vivid hues engage the attention throughout (especially Renee Houston's flaming red hair) in a cynical subject which portrays fifties London as as full of con men, pickpockets, high maintenance blondes and wealthy Arabs able to afford forty-guinea-a-day hotel suites as Samuel Fuller and Jean-Pierre Melville did for New York and Paris in black & white.