The course of events fits together a little too neatly to avoid feeling contrived, especially as the film maintains a steady pace. Yet these are the only concrete faults that readily come to mind for a picture that quietly joins the good company of other crime thrillers from the 40s and 50s. The cast turn in able performances of spirit, poise, and suitable nuance; Stanley Black's score capably imparts the drama of the scenario; the costume design is sharp and sound. It's no revelation, and you don't necessarily need to go out of your way for it, but 'White Fire,' or 'Three steps to the gallows,' is solid and enjoyable all the same.
Scott Brady and Mary Castle carry worthy personality in the chief roles of Gregor and Yvonne, and fine as all involved are, Ferdy Mayne is rather distinct and underhandedly imposing as wily club owner Sartago. Otherwise, it's the screenplay concocted between director John Gilling and co-writer Paul Erickson that's most noteworthy here. Again, the narrative is a bit too orderly for its own good - however, it's nonetheless complete and cohesive, and sufficiently engaging to keep our attention. There's some snappy cleverness in some of the dialogue, and the characterizations - if not the most complex in the world - bear enough depth to keep each passing moment varied and dynamic. Personally, for what it's worth I think it's the scene writing that stands out the most here; if the composite is a little too perfect, in both conjuration and realization each scene is tight and robust, whether it's dialogue that's most prevalent or action. "Thrilling" is maybe too charged a word, but whatever we're treated to from one instance to the next, we reliably get a sense of excitement deserving of our commitment.
If my words seem a bit noncommittal or blase, this isn't to say that 'White Fire' is bad. Far from it! I quite like it, and was pleased to watch from start to finish. Every component is rather sturdy, from writing and direction to acting and stunts. It's just that in addition to the unmistakable tidiness of the plot through to the very end, overall the movie simply isn't remarkable enough to particularly make an impression, or rise above a crowded field. Just as casually as the picture concludes, thusly casual too is the entertainment the picture provides. But who's to say that every piece of cinema has to be deeply profound? These 82 minutes serve up a good time, a fair diversion - and sometimes that's all a movie needs to be.
Scott Brady and Mary Castle carry worthy personality in the chief roles of Gregor and Yvonne, and fine as all involved are, Ferdy Mayne is rather distinct and underhandedly imposing as wily club owner Sartago. Otherwise, it's the screenplay concocted between director John Gilling and co-writer Paul Erickson that's most noteworthy here. Again, the narrative is a bit too orderly for its own good - however, it's nonetheless complete and cohesive, and sufficiently engaging to keep our attention. There's some snappy cleverness in some of the dialogue, and the characterizations - if not the most complex in the world - bear enough depth to keep each passing moment varied and dynamic. Personally, for what it's worth I think it's the scene writing that stands out the most here; if the composite is a little too perfect, in both conjuration and realization each scene is tight and robust, whether it's dialogue that's most prevalent or action. "Thrilling" is maybe too charged a word, but whatever we're treated to from one instance to the next, we reliably get a sense of excitement deserving of our commitment.
If my words seem a bit noncommittal or blase, this isn't to say that 'White Fire' is bad. Far from it! I quite like it, and was pleased to watch from start to finish. Every component is rather sturdy, from writing and direction to acting and stunts. It's just that in addition to the unmistakable tidiness of the plot through to the very end, overall the movie simply isn't remarkable enough to particularly make an impression, or rise above a crowded field. Just as casually as the picture concludes, thusly casual too is the entertainment the picture provides. But who's to say that every piece of cinema has to be deeply profound? These 82 minutes serve up a good time, a fair diversion - and sometimes that's all a movie needs to be.