THE LONG ARM

 

The last film in Kino's BRIT NOIR COLLECTION II Blu-ray set I need to cover is THE LONG ARM, released in America as THE THIRD KEY. It was produced by Ealing Studios, and released in 1956. The movie reunites director Charles Frend and actor Jack Hawkins, who worked together on the fine WWII picture THE CRUEL SEA. 

THE LONG ARM is more of a police procedural than a all-out noir, but it does have a number of nighttime set sequences with lonely rain-slicked streets, and it uses plenty of actual locations, giving it a gritty and down-to-earth feel. The story revolves around Scotland Yard Superintendent Tom Halliday (Jack Hawkins), who is engaged on an investigation of a spate of safe robberies. Halliday is resolutely determined to catch the culprits behind the thefts, especially when a man is killed in a hit & run by the vandals after one of the robberies. 

Jack Hawkins brings his solid, no-nonsense bearing to the role of Halliday. The Superintendent is shown to be a dogged investigator, but we are also introduced to his wife and young son, and we see him breaking in a new Detective Sergeant (John Stratton). Halliday is a thorough professional, but Hawkins gives the viewer a glimpse into his human side. Much screen time is devoted to all the various procedures used by Scotland Yard to track down criminals, and Hawkins spends so much time and effort in catching his quarry that the viewer can't help but want to see him succeed. 

Halliday encounters several character types during his investigation, and they are all enacted by a solid cast including Ursula Howells, Geoffrey Keen, and Ian Bannen. None of the supporting players particularly stand out, but I think this was due to the story being presented in a more realistic manner. There's nothing really unbelievable or over-the-top in THE LONG ARM. Halliday is no Dirty Harry, but he does take part in a mini-action sequence at the end which fits in well with the movie's overall tone. Gerard Schurmann's music score adds greatly to the drama. 

Out of all the three movies in the BRIT NOIR COLLECTION II set, THE LONG ARM is the best. It is also the best looking overall--the black & white visuals are very sharp here. The BRIT NOIR COLLECTION II set has audio commentaries for each film, and the set has two discs. 

Kino has already announced BRIT NOIR COLLECTION III and IV (they must have rights to a bunch of 1950s and 60s British films). As in the first set, I believe the definition of noir is used rather loosely here, but for Region A folks we're getting introduced to a number of well-made rare British films that are filled with fine acting talent. 

THE INTRUDER (1953)

 

It's back to Kino's BRIT NOIR COLLECTION II Blu-ray set with a look at 1953's THE INTRUDER, produced by British Lion and directed by Guy Hamilton. 

Once again I have to question the classification of a movie as noir. THE INTRUDER is more of a melodrama dealing with how war and military service affects individuals. The story begins with a stockbroker named Merton (Jack Hawkins) coming home from a golf outing to find that there's a burglar on the premises. Merton is shocked when he recognizes the perpetrator as Ginger Edwards (Michael Medwin), a man who served under him during World War II. Edwards runs away before he can be caught, and Merton decides to track him down on his own, hoping to find out why such a fine soldier has been reduced to theft. 

THE INTRUDER takes on an almost anthology feel as Merton encounters a number of men from his former brigade and asks them about Edwards. There are a number of flashbacks to WWII throughout the film, and each is almost a mini-story in its own--there's even a comic vignette. When we finally get to the sequence explaining what has happened to Edwards since he came home from the war, it comes off too abruptly--the fellow's entire life falls apart literally in a few scenes. I believe the story would have worked better if more time had been spent setting up and detailing Edwards' plight. 

Jack Hawkins provides his usual stalwart presence, and he's backed up by a typically commendable British supporting cast of the period, featuring the likes of Dennis Price and George Cole. (Hammer fans will recognize Michael Ripper and Duncan Lamont in small roles.) 

This was Guy Hamilton's second feature as a director. (Ironically his first one, THE RINGER, is included in Kino's BRIT NOIR COLLECTION I set.) He does well juggling all the flashbacks and the present day scenes. The golf course shown at the beginning of this movie would be used by Hamilton again for a famous sequence in GOLDFINGER. 

One would assume that THE INTRUDER is a dark, brooding tale about one man's downfall, but it winds up being an ensemble piece dealing with a group of men who served together during WWII. This film's climax in particular is much more positive than that of most American noirs made around the same time. 

Book Review: METRO-GOLDWYN-VAMPIRE

 

Greg Mank gives readers another fast-paced ride down the dark corridors of classic Hollywood with his third novel METRO-GOLDWYN-VAMPIRE. 

The story is set in late 1934. MGM is getting ready to shoot director Tod Browning's latest thriller, a remake of his silent-era production LONDON AFTER MIDNIGHT. Recent events off the set, however, are far more horrifying than anything Browning could dream up. A number of young women are being savagely murdered--and the victims have one major thing in common: they all auditioned for a part in Browning's new opus...the role of "Luna the Bat Girl". 

Against his better judgement, private investigator Porter Down gets involved in the case (he has a problematic relationship with the movie industry, particularly the folks at MGM). Down has faced danger many times in his adventurous life, but what he experiences in METRO-GOLDWYN-VAMPIRE literally brings him to the edge of madness. 

Once again the author puts his massive knowledge of Hollywood history and his vivid imagination to excellent use in fashioning a 1930s Gothic horror mystery that is decidedly creepy. METRO-GOLDWYN-VAMPIRE features an exceedingly nasty occultist and his "creation", a blasphemous being that just might be the most loathsome thing Porter Down has ever faced off against. 

This novel also gives film buffs plenty to geek over, with appearances by historical figures such as Browning, Bela Lugosi, Elizabeth Allan, Guy Endore, William Randolph Hearst, Marion Davies, and Thelma Todd. 

METRO-GOLDWYN-VAMPIRE is over 400 pages, but once you start reading it, you'll find it hard to put down. If you are an old movie buff willing to delve into the ghoulish and the gruesome, this book is perfect summer reading. 

Book Review: VAMPIRE OVER LONDON--Bela Lugosi In Britain

 

I purchased this volume a couple weeks ago at the 2026 Summer Monster Bash Conference. 

Perhaps no other actor's profile has been affected by various myths and legends as that of Bela Lugosi. Many of these fables are still all over the internet, to the point where one must be very wary when reading something about Lugosi on social media. 

VAMPIRE OVER LONDON--Bela Lugosi In Britain, is a heavily researched, minutely detailed book that deals in facts, not legend. Written by Frank Dello Stritto and Andi Brooks, the volume takes a deep dive into the 1951 British stage tour of DRACULA starring Lugosi, and the three films the actor made in England (MYSTERY OF THE MARY CELESTE, THE DARK EYES OF LONDON, and MOTHER RILEY MEETS THE VAMPIRE). 

Legend says that the 1951 DRACULA tour was so unsuccessful that Bela and his wife Lillian went broke and were basically stranded in England, forcing Lugosi to take part in the terrible MOTHER RILEY movie just to raise enough money to get home. The authors reveal that Lugosi spent nearly six months touring on stage in the U.K as the Count, giving 229 performances despite physical travails and worries over his career. 

A number of people that were actually involved in the tour, either on stage or off, have been interviewed for this book, along with many folks who were blessed to witness one of Bela's performances. They state that despite Bela being in his late 60s, he was still a compelling and captivating figure on stage. 

The book also gives an almost day-by-day portrait of Lugosi during a tumultuous period in his life. Bela was a complicated individual, but he still had plenty of Old World European charm, and despite his frustrations over typecasting, he could easily slip into his Dracula persona when he needed publicity. 

VAMPIRE OVER LONDON also shines a much-needed spotlight on Lillian Lugosi. Out of all of Lugosi's wives, Lillian lasted the longest, and this book shows that she was Bela's one-woman entourage, taking care of him and watching over him at all times. It's no coincidence that after Bela and Lillian split up the actor's life went downhill. 

VAMPIRE OVER LONDON is nearly 500 pages long, and it is jammed packed with material and heavily illustrated, with many rare photos of Lugosi. The book has a number of appendices that give even more knowledge on Lugosi's overall appearances on stage as the Count, and how critics at the time reacted to the 1951 British stage tour. 

This volume is an absolute must for Bela Lugosi fans. We will never know what it must have been like to see Lugosi play Dracula on stage, but VAMPIRE OVER LONDON gives the reader as close of an approximation of that experience as one could have. It also gives us a much better idea of what Bela was like as a human being. The book is published by Cult Movie Press. 

THE SPACE CHILDREN

 

The title of this film is somewhat of a misnomer--there are no space children in it, and no children in it actually go out in space. THE SPACE CHILDREN is a 1958 science-fiction tale produced by William Alland and directed by Jack Arnold. Alland and Arnold together made some of the most notable genre films in the 1950s for Universal, but on this one they were working under the auspices of Paramount. 

THE SPACE CHILDREN takes place at a top secret military base on the California coast. An important launch is being prepared there of a satellite that will be carrying advanced weaponry. During the run up to the launch, a number of strange occurrences take place. A being from outer space, a being that resembles a glowing, growing, pulsating brain, has been making contact with a group of children of the civilian workers on the base. The point of this contact is to stop the weapon from being launched into orbit. 

THE SPACE CHILDREN has a few things in common with another William Alland-Jack Arnold film, IT CAME FROM OUTER SPACE, and it also calls to mind VILLAGE OF THE DAMNED, even though the children in that film are far more lethal. The 'being" is using innocent humans to achieve its goal, but it isn't overtly threatening or dangerous (except in one instance). There's very little FX in THE SPACE CHILDREN, and the expected clash between the military and the being never comes to pass. 

In the science-fiction films he directed Jack Arnold usually made much use of the terrain the stories were located in, and he does this plenty in THE SPACE CHILDREN. There's plenty of scenes showing characters going back and forth over the rocky shore, and the sound of the pounding surf is a constant throughout. Arnold even trots out one of his favorite tricks, the "character being unexpectedly grabbed from off-screen" jump scare. Arnold's use of the environment is rather pronounced here, probably due to the fact that there isn't much to the plot. The movie only lasts about 68 minutes, and it could have easily been turned into a half-hour TV show. 

Due to the short length of the film we never get to really know any of the kids--they're a generic group of bright-eyed youngsters, but none of them stands out. (Michel Ray as Bud, the sort-of-leader of the kids, does show an unusual maturity.) None of the adult characters stand out either--the parents of the kids are overly emotional and argumentative, another way of reminding us that only innocent children would be able to understand an alien force that just wants us to stop destroying ourselves. (It is mentioned that there are children all over the world who are in the same situation, but due to this film's low budget, we are never shown any of this.) 

The cast is notable for the presence of four performers best known for their roles in classic TV shows: Raymond Bailey (Mr. Drysdale on THE BEVERLY HILLBILLIES), Russell Johnson (The Professor on GILLIGAN'S ISLAND), Jackie Coogan (Uncle Fester on THE ADDAMS FAMILY) and Johnny Crawford (the son of THE RIFLEMAN). Russell Johnson plays against type as the parent who is a drunken lout (he's also the only character killed by the being in order to stop him from beating his stepson). Johnson's part is such an obvious jerk that one wonders how in the heck he has a job at a top-secret military base. 

It's fairly accurate to say that William Alland and Jack Arnold were trying to make a gentler kind of 1950s sci-fi story, with an anti-nuclear weapons message. It's a decent effort, but it's not on the same level as the earlier sci-fi tales made by Alland and Arnold. The budget is too low, and there's just not enough going on in the story to make it memorable. 

HOME AT SEVEN

 

Kino's BRIT NOIR COLLECTION II is now available, and like the first set, it contains three black & white British films from the 1950s and 60s whose stories involve crime and murder. Today I'll be discussing 1952's HOME AT SEVEN (also known as MURDER ON MONDAY), a London Films production based on a R.C. Sherriff play, starring Ralph Richardson, who also directed. (HOME AT SEVEN was the only theatrical feature the esteemed actor ever helmed.) 

HOME AT SEVEN gets things going right off the bat, as bank clerk David Preston arrives home from work at 7 pm, as he usually does. He finds his wife Janet (Margaret Leighton) in a state of hysterics, however--she hasn't seen him since he left for work Monday morning, and this is Tuesday. The befuddled Preston comes to the realization that he has no memory of what happened to him the last 24 hours--and neither, apparently, does anyone else. To make matters worse, a large amount of money was stolen from Preston's club, an organization in which he was the treasurer, and a member of the club--a man Preston despised--has been found murdered. Preston struggles to find out what exactly happened, with help from Janet and his Doctor (Jack Hawkins). 

HOME AT SEVEN is more of a suburban mystery story than a full-fledged noir, although there is a psychological element to Preston's mental block. The story's origins as a stage play are quite evident, with many dialogue-heavy scenes and events being described instead of dramatized visually. (The important character of the murdered man is never even shown.) 

Ralph Richardson played the role of David Preston on stage, and it fits him well. Richardson always brought a quirky aspect to whatever part he played, and while Preston appears to be a straightforward unassuming white-collar man, the viewer gets the feeling that he's hiding something. Richardson gets good support from Margaret Leighton as his loyal wife and Jack Hawkins as the trustworthy doctor. Many of the other roles in this film were played by actors who, like Richardson, also appeared in the stage version of the story. 

HOME AT SEVEN sets up a very intriguing premise, but the climax is a bit of a disappointment. Ralph Richardson is always entertaining to watch, and he directed this film capably enough, but if this story were remade again I've no doubt a few extra plot twists would be added. Ironically enough a BBC TV adaptation of HOME AT SEVEN was made in 1957, starring my favorite actor Peter Cushing in the lead role. I'd certainly love to see that, but it appears no copies of it exist. 

THE HOWARDS OF VIRGINIA

 

What better way to celebrate the 250th anniversary of the United States of America than to watch a movie that revolves around the War for Independence? Now, what if I told you the movie stars Cary Grant, of all people, as a rugged Colonial frontiersman? 

That movie happens to be THE HOWARDS OF VIRGINIA, a 1940 Columbia release that was produced and directed by Frank Lloyd. I recently purchased it on DVD at a discount from Edward R. Hamilton. 

Cary Grant stars as Matt Howard, a brash fellow in 1760s Virginia who wants nothing more than to travel to the untamed Ohio territory to carve out a place for himself. Matt starts to do some surveying for various upper class Virginia families, and he falls in love with the daughter of one esteemed household--Jane Peyton (Martha Scott). In true old movie fashion, Matt annoys the prim and proper Jane until she agrees to marry him. The couple starts to build a new life together, but the tensions between the Colonies and England affects their happiness, as Matt chooses to fight for an independent country while Jane wants her family to avoid conflict altogether. 

The main topic when it comes to THE HOWARDS OF VIRGINIA is the casting--or miscasting--of Cary Grant in the lead role. Why anyone at Columbia thought having Grant in this movie is beyond me. There were plenty of other leading men in 1940 Hollywood that would have been much more suitable, such as Randolph Scott (who actually was a native Virginian), Joel McCrea, and John Wayne. Grant looks distinctly uncomfortable in 18th Century colonial garb, and his performance is uncomfortable as well. Grant overplays the role, yelling most of his dialogue and using what at times sounds like an Irish-Scottish accent. Grant's Matt Howard is so brash and demonstrative that one wonders if he's under the influence of colonial-era uppers. 

Martha Scott's Jane is so prim & proper that she comes off as strident, and she and Grant are not much of a romantic couple. The first part of THE HOWARDS OF VIRGINIA deals with Matt and Jane trying to get used to one another during the early years of their marriage (at one point Matt takes part in a rambunctious hoedown). In the second part of the film the story gets away from the soap opera elements and starts to follow the historical events leading up to the Revolution, as Matt is elected to the House of Burgesses and starts to be more of a firebrand. This bothers his wife and her disdainful, snooty brother (Cedric Hardwicke), a dyed-in-the-wool Tory who never wanted his sister to marry Matt in the first place. 

Eventually, Matt joins the Continental Army, and his two sons (who seemingly have grown into teenagers overnight) visit their father at Valley Forge to join up as well. The entire Howard family is finally happily reunited just before the Battle of Yorktown. 

Among the major historical characters who have "cameos" in THE HOWARDS OF VIRGINIA are George Washington, Patrick Henry, Baron von Stuben, and the Marquis de Lafayette. One founding father actually has a major supporting role: Thomas Jefferson, as played by Richard Carlson. Jefferson happens to be Matt's best friend (Howard calls him "Tom"). Thomas Jefferson is one of the most intriguing figures in American history, but here he's just the main character's sidekick. 

(I need to point out that my favorite actor, Peter Cushing, is in this film for one scene. If you're looking for him, he shows up right after the beginning sequence, when Thomas Jefferson introduces Matt to a number of prominent Virginians at a tavern.) 

Frank Lloyd directed a number of historical epics in his career, including the 1935 version of MUTINY ON THE BOUNTY. He keeps the story moving here but so many incidents go by so quickly that it's hard at times to remember how many years have passed from one scene to another. THE HOWARDS OF VIRGINIA has more than a few things in common with DRUMS ALONG THE MOHAWK, but that John Ford epic was a much better film, and it was in color. 

If THE HOWARDS OF VIRGINIA had a different leading man and leading lady, and if it had spent more time and effort detailing history, it would have come out more successfully. The Revolutionary War is filled with all sorts of amazing figures and amazing incidents, but the entertainment industry has never really been able to capture it in a dramatic and interesting fashion.