Hurst Grove, Walton on Thams. Telephone Walton 2414. Four stages: 3 approx 120x85ft, 1 85x64ft.
Originally the studios of Cecil Hepworth in 1899, it began life as Nettlefold in 1926. In 1955 TV production of Robin Hood began here, and the studios were eventually renamed Walton Studios. They closed in 1961.
SEND FOR PAUL TEMPLE (1946, directed by John Argyle, Nettlefold Studios, 3*)- As the Midland Gang
are mysteriously baffling poor Scotland Yard, Paul Temple is unofficially called in to capture this
gang of smash and grab raiders. "Greenfingers" is a clue on the mouth of a dying eyewitness, and this
turns out to be the old name of the pub where the crooks meet.
The murder of a Yard detective deepens the gloom, though the dead man's sister, Miss Trent, does help
brighten up the case. But the woodenness of Anthony Hulme in the title role spoils even this, as in this sample exchange:
Miss Trent- "I think I can imagine you as Romeo." Temple- "unfortunately I played Juliet."
His mediocre acting is occasionally infectious, at his worst he utters "this is the chance we've been waiting for,"
without the least inflection of enthusiasm. Too much such talk and too little action make this not Francis Durbridge's finest hour
CALLING PAUL TEMPLE (1948, directed by Maclean Rogers, Nettlefold Studios, 5*) -
Maniac murderer Rex has killed four women, so Paul and Steve Temple take on the case,
John Bentley and Dinah Sheridan giving the film some sparkle.
A car crash and a time bomb thwart their investigations into an Egyptian doctor, a tiny Welshman and a blackmail victim as they
whisk from London to Canterbury, where Steve is bound and gagged in a monastery. When Paul tries to rescue her, he too is gagged and
the vault where they are bound is flooded. "Paul, what are we going to do?" But the couple are just freed in time, and in time
to unmask Rex. "Paul, look out, he's got a gun!" My favourite line, very much of its time: "Hotel Waiter: 'If only you had been here before the war, sir.'
Paul Temple: 'This cod was!'"
MIDNIGHT EPISODE (1950, directed by Gordon Parry, Nettlefold Studios, 4*)-
This film is nearly but never quite absorbing- an incident in the life of Mr Prince, busker (Stanley Holloway) changes him, when he happens to find a well filled wallet in Ealing Broadway, fallen out of car JOP861, later found in the Thames. Mystery surrounds the driver Edward Harris, who had a second life as a Mr Arnold. Why are several people attempting to retrieve his wallet? Either by cash or by force, they are determined to get it, to keep its secret. "Every time you tell the truth, it gets more suspicious"
SCARLET THREAD (1951, directed by Lewis Gilbert. Nettlefold Studios, 2*)- Pickpocket Freddie (Laurence Harvey) rescues rich Mr Bellingham (Sydney Tafler) when he's attacked by roughs.
So Freddie is offered a job, a smash and grab raid on a Cambridge jewellers. The inexperienced Freddie panics and shoots a passer-by, and after a chase he and Bellingham hide in a don's house, where the frustrated spinster Josephine (Kathleen Byron) entertains them,
thinking they are old students. The film is at one moment a travelogue round the university city, as well as an improbable love story as Freddie falls for her. But it never excites our involvement, and dies when she learns her father is the dead eyewitness to the crime.
Yes, they are "a couple of cheap crooks," as it finally dawns on us that this is a cheap and rather seedy film. She goads the pair to fall out, then there's a chase around the college to a very abrupt end- possibly the final scene
TALL HEADLINES (1951, directed by Terence Young, Nettlefold Studios, 4*)-
All very middle class, "I do wish they'd increase the cheese ration," until eldest son Ronnie is arrested and hanged for the Barking Dog Case, a young girl's murder on Putney Heath. This is a study of a family who try a fresh start, but it's impossible, "haven't I seen you some place before?" Maybe it's worst for siblings Frankie (Jane Hylton) and Philip (Michael Denison), who falls for temptress Doris (Mai Zetterling) and starts wondering if he's turning into a killer like his brother. "Nothing more can harm us now," but it can, as the deeply depressing story becomes the stuff of melodrama, deeply misjudged. Of course Philip should have come clean with Doris, "I ought to have told you this." The film then mistakenly adds a forced happy conclusion, which at least has the merit of relieving our gloom
THE LARGE ROPE (1952, directed by Wolf Rilla, Nettlefold Studios, 3*)-
Three years Tom (Donald Houston) served for laying hands on Amy. He was innocent. Now he has returned to his village, where he's not welcome even by his father. The film tries to introduce too many characters- it happens on the very day his ex-girl Susan is to marry Geoff. it's a deeply depressing study of village gossipers. When the flirtatious Amy is strangled, there's a ready made suspect for Inspector Harmer and the zealous new local bobby. Old Ben is a key witness against Tom. It's the old lynch mob tale as the crowd get "restive," it's all too pat. When Tom breaks police custody, the crowd give chase, but he gives them the slip and confronts Geoff, "I've kept my mouth shut too long." Quite why I wasn't sure. Or how the real killer manages to betray himself
ESCAPE ROUTE (1952, directed by Seymour Friedman and Peter Graham Scott, Nettlefold Studios, 5*) - Steve Rossi (George Raft) creeps into England avoiding airport customs, in order to track down the elusive Michael Grand, who's in charge of a gang smuggling top scientists over to (where else?) Russia. Rossi enlists the help of British agent Joan (Sally Gray in her final film)- "you are a woman after all." Together they spend the film in a long slightly tedious chase across London, occasionally exciting. Raft moves as though he's seen all this many times before, only difference being, this is a British movie
FLANNELFOOT (1952, directed by MacLean Rogers, Nettlefold Studios, 3*) - "Who is Flannelfoot?" the Yard are asking. A Fascinatin' man perhaps, according to the song sung at the start, a gentleman thief that Inspector Duggan (Ronald Adam) is desperate to arrest, with the aid of his colleague Sgt Harry Fitzgerald (Ronald Howard). Getting some "good copy" on the crook, Mitchell (Jack Watling) of the Daily Comet is hoping "Fleet Street shows Scotland Yard what's what." They all join forces to catch him at a weekend house party at Wexford Court, home of the owner of the Comet. There Duggan makes an arrest, but he's proved wrong when there's another robbery "the game's up... this'll take some explaining." After many plodding scenes, the identity of Flannelfoot is finally revealed after a rooftop chase when the crook goes over the top in traditional fashion. Of course the whole thing, an EJ Fancey production, is over the top, with Fancey's usual slightly inappropriate stock background music and somewhat jarring continutity. But that's all part of the fun
PAUL TEMPLE RETURNS (1952, directed by Maclean Rogers, Nettlefold Studios, 3*)- Who is The Marquis? He's killed three times, no obvious motive. Since the Yard detectives are a little slow, Paul Temple and his wife step in, finding one of the Yard men is top of their suspects list! A "prima facie case" can also be made against Sir Felix, especially since he's played by Christopher Lee. However he is found dead, so who is The Marquis? "There could be other suspects." The film rambles pleasantly enough, without undue excitement. "Temple, have you gone mad?"
THE BLUE PARROT (1953, directed by John Harlow, Nettlefold Studios, 3*)- Supt Chester (the dependable Ballard Berkeley) gets the help
of Bob (Dermot Walsh) who's "American, they take over everything," in the Rocks Owen murder case. Sgt Maureen Maguire is a more than useful ally.
Their pondersome investigation centres on the Blue Parrot Club, exclusive but awfully cramped. Chester neatly sums it up when he remarks "there's plenty of time,
I'm not going to rush things." Ultra suspicious are Carson (John le Mesurier), owner of the club, as well as Taps (Edwin Richfield) and Stevens (Ferdy Mayne).
"It's a pity it has to end like this," as Maureen finds herself "in a tough spot." "Sleep well copper," the killer tells her
PARK PLAZA 605 (1953, directed by Bernard Knowles, Nettlefold Studios, 5*)- Norman Conquest (Tom Conway) accidentally hits a pigeon on the golf course. On the dead bird is a message about a meeting in room 605 in a hotel. Here Norman encoutners the beautiful Nadina (Eva Bartok), plus one corpse. Supt Bill Williams (unusually Sid James) accuses Norman of murder. At the rendezvous, Nadina was expecting him to hand over diamonds, and to get them, Pixie, Norman's girl is kidnapped, then Norman. The film has pretensions of style with its catchy theme tune, nice touches of humour and Norman's Frazer Nash sports car, though it never utterly charms
GRAND NATIONAL NIGHT (1953, directed by Bob McNaught, Nettlefold Studios, 7*)-
If anyone ever deserved to get bumped off, it is the self centred Babs (Moira Lister), cruel to horses, an outrageous flirt. Her husband Gerry (Nigel Patrick) has to miss the Grand National because of her cruelty to his favourite horse, but his Star Mist wins, a cause for Babs to celebrate. In the early hours, when she returns home, wallowing in self pity, the couple argue. Next day her disappearance causes much speculation and when her body is found. the meticulous Inspector Ayling (Michael Hordern) starts to tighten the net around Gerry. Calmly and systematically, he dismembers Gerry's "plausible story," the accidental discovery of a railway ticket the nail in Gerry's coffin. A fascinating tale, how can a happy ending be manufactured?
I remember first watching this when it was screened during the ITV actors' dispute in early 1962, and it remains as absorbing so many years later
OPERATION DIPLOMAT (1953 based on Francis Durbridge's TV serial, directed by John Guillermin, Nettlefold Studios, 4*)- A meandering tale that can't quite ignite enthusiasm. Mark Fenton (Guy Rolfe), a surgeon, is virtually kidnapped in order to operate on a rich diplomat. Following a trail of murders, he later conducts extensive enquiries to work out where this operation had been conducted. However when his patient has a relapse he gets a second chance but by the time he does solve the puzzle "they've cleared out." Only a final desperate chase prevents the diplomat from being smuggled to behind the Iron Curtain. Note- William Franklyn appears uncredited as a doctor.
THE DIAMOND (1953, directed by Dennis O'Keefe, Nettlefold Studios, 4*) - today's US arrival at the airport is Joe (Dennis O'Keefe) of the US Treasury Department, who is after recovering $1m, with a little help from Inspector 'Mac' Maclean (Philip Friend). The pair enjoy a few good interchanges and healthy rivalry for Miss Marlene Miller, whose scientist father is missing, inventor of an incredible process that can created perfect diamonds. These are imported into the country, the Yard tailing the smugglers to a Hatton Garden dealer (Alan Wheatley almost inevitably). There is a well photographed shooting on the escalator at St John's Wood station, and a dramatic finale in which Joe rescues Marlene
MEET MR CALLAGHAN (1953, directed by Charles Saunders, Nettlefold, 10*)- You don't need to follow this sparkling private eye tale, for Eric Spear's music is catchy enough. Full of herrings, its about 4 nephews that dry detective (Derrick de Marney who relishes this role) blackmails in order to discover which has killed a millionaire. William, who's to marry Cynthis, donates £300, £200 comes from broke Bellamy, and £500 from Jeremy for a fake will. But it all is honourably used to pay off Paul for a fake confession. In between battling with Gringall of the Yard (the splendid Trevor Reid), Slim Callaghan throws away variations on his catchphrase: "Callaghan Investigations never lets its clients down"...then as an aside... "well hardly ever," "Callaghan Investigations never sleeps ... well hardly ever," "Callaghan Investigations never makes bargains with crooks... well hardly ever." Or this variation: "Callaghan Investigations never blackmails its clients-" no addition. And at the end a besotted Cynthis reminds him of his words "Callaghan Investigations never lets its clients down" to which Slim adds "certainly not this time"
THE SCARLET WEB (1953, directed by Charles Saunders, Nettlefold Studios, 7*) -This blonde is waiting for Jake Winter as he is leaving Wormwood Scrubs. She has a proposition, but it's a trap, and he is drugged. When he comes to, he finds a dagger in his hand, a dead woman in the bedroom. He is actually an insurance investigator, and he needs help badly. His new boss 'Honey' is the girl to provide it, and the film perks up as Hazel Court as Honey has some good repartee with Griffith Jones. as Jake. He traces the mystery blonde, name of Laura, as he is pursued for the murder of another witness. By playing off Laura against the murdered woman's husband, Honey nearly gets done in herself. A satisfying film, with good supporting cameos from Ronnie Stevens as Simpson, and David Stoll
THE BROKEN HORSESHOE
(1953, directed by Martyn C Webster, Nettlefold Studios, 7*)- Mark Fenton (Robert Beatty) is a doctor sucked into a typical Francis Durbridge mystery after he operates on Constance, a hit and run case. "Never hold anything back from the police," his detective brother advises him, but he fails to tell what little he knows of the elusive Miss Freeman (Elizabeth Sellars) as he's infatuated with her, when she presents the patient with flowers in the shape of a broken horseshoe. When Constance is later found murdered, Fenton covers up for her. Constance had given into Fenton's safe keeping a railway ticket from London to Dover, for which a mysterious stranger then offers Fenton £500- rail travel was mighty expensive even in those days! Finally Miss Freeman has to confide in Fenton explaining that The Horseshoe organisation is, she admits to her admirer, the smuggling of illegal but worthy refugees from Poland. But though he swallows this at first, she's only "stringing him along" as it eventually proves to be a vicious racehorse doping ring. Robert Beatty manages to convey the doctor's greenness in a world of crime very well, whilst Elizabeth Sellars makes her usual darkly seductive villainess.
DANGEROUS CARGO (1954, directed by John Harlow, Nettlefold Studios, 4*) -
Tim Matthews (Jack Watling) works as a security guard, happily married to Janie (Susan Stephen). When bumps into old POW buddy Harry (Terence Alexander), I thought this might become a love triangle, instead this is a standard thriller. Harry is bent, and when honest Tim sinks into a betting debt the way is open for him to be blackmailed into assisting the gang rob the gold bullion that Tim transports. The naive central character is sympathetically well drawn, though more improbable is Luigi with his dark glasses played by John le Mesurier, "I don't take very kindly to you... you dirty little rat." Rough stuff and the kidnapping of Janie force Tim to sign up to the crime, but he informs the police, who are ready and waiting for the heist. Of course Tim joins in the fracas, getting injured for his troubles
TRACK THE MAN DOWN (1954 directed by RG Springsteen, Nettlefold Studios, 2*)- Mary (Ursula Howells) is besotted with Rick Lambert, a petty crook who has just robbed a greyhound track. Her sister June (Petula Clark) has better judgement, not taking to him at all, but the closing police net is slowed down by too many characters. Everything is too formulaic about this film, the stand off a cross between The Ghost Train and The Runaway Bus, without the laughs, and with no thrills either. The only slightly good moment, with some good close up shots, is when Rick and the nervous Ken (Kenneth Griffith) hijack a bus, and hole out in a boathouse
BLACK RIDER (1954, directed by Wolf Rilla, Nettlefold Studios, 6*) -
A host of fine character actors gives this film a happy mix of drama and a little humour, with Leslie Dwyer as the irascible newspaper editor Charlie,
Jimmy Hanley and Rona Anderson as Jerry and Mary in love, Lionel Jeffries as the smooth foreigner Brenner, a crook of course, and with
Edie Morton as, as ever, an elderly lady. Local legend has it that the Black Monk, the devil himself, rides at full moon, and George (Kenneth Connor) has seen him.
Foreign spies are using the story as cover to smuggle in parts of an atomic sabotage weapon, being assembled in a castle dungeon.
In the best tradition of amateur sleuths, Jerry encourages his girl Mary to look round Brenner's mansion. What's she looking for, she asks him. "Anything suspicious."
When she finds that something, she is kidnapped. Charlie however can't believe anything is wrong with Brenner, though Jerry's mum is more perceptive, even though her reasoning is a little illogical: "I don't like his hat."
Jerry's motorcycle gang rescue Mary and put paid to the thankfully undefined evil plans of the foreigners
RADIO CAB MURDER (1954 directed by Vernon Sewell, Nettlefold Studios, 5*)-
This starts in quasi-documentary style, showing us ex-safecracker Fred Martin (Jimmy Hanley), at work driving his taxi OLD135. The police persuade him to become a nark to nail a gang of bank robbers. But as Myra (Lana Morris) tells him honestly,
"you look more like a friendly bear than a gangster." Ostensibly sacked from his job, Fred is invited by the gang to crack a safe, "no risk at all," at a bank. Certainly the job is well planned, but their blunder is in the getaway car, a stolen taxi,
none other than OLD135. Myra is able to listen to the gang's chat on the cab radio. "Fred Martin is in great danger," her boss warns, "to save his life, we must locate that cab."
A fix is slowly got on the stolen taxi, but the gang have now tumbled to the fact that Fred is an informer. He is locked in a deep freeze at their headquarters, the Jack Frost Ice Cream Company.
The thieves then fall out amongst themselves and the police easily round them up, no exciting chase even. So it all ends happily, Fred and Myra happily married, back working on the taxis.
RIVERBEAT (1954, directed by Guy Green, Nettlefold Studios, 5*)- Ship radio operative Judy unthinkingly smuggles cigarettes when she steps ashore. In a pub she makes friends with Dan Barker (John Bentley) who happens to be an inspector for the Thames police. Next time she smuggles she's caught, and diamonds are found on her, "that's almost unbelievable." Surely the boss has to elimnate her, "I guess it does look pretty bad." She has identified Charles (Glyn Houston) in Poplar as one of the gang, and she tails him as he tries to get away. He lands in her own ship. "I'm afraid I'm going to have to kill you Judy." There's a riverboat chase and a good end with Inspector Barker facing the boss standing in the river mud facing his gun
FINAL APPOINTMENT (1954, directed by Terence Fisher, Nettlefold Studios, 5*)-
Mike Billings of the Sunday Star (John Bentley) plays his typical reporter in raincoat. Has he stumbled on a scoop, the link between three unsolved murders? All killed on successive July 10ths, and all served on a wartime court martial tribunal. He can guess who might be killed this coming Saturday, July 10th, the final member of the group, Hartnell, a solicitor. Inspector Corcoran does the legwork, while Mike dates Hartnell's secretary Miss Laura Robins, "just business." Hartnell himself is unconcerned about his possible demise, but he should be. The cunning George Martin is out for revenge, but nearly meets his own end in the shape of a blackmailer who is also on to his evil scheme. An average crime thriller, but with a nice touch of humour. Producer: Francis Searle
TIGER BY THE TAIL (1955, directed by John Gilling, Nettlefold Studios, 7*)- Journalist John Desmond (Larry Parks) picks up Anna (Lisa Daniely) in a club and is soon besotted. But after a row over her diary he accidentally shoots her. This diary holds a cypher which lands John and his secretary Jane (Constance Smith) in deeper waters, and that's what this film is so good at showing, John sucked into an unfathomable mystery surrounding Anna's secret life. The code book is wanted back by the gang of counterfeiters, they kidnap John but after tough questioning he escapes. Hiding in a loonybin is a smart move, and here he starts to crack the code. However the crooks are smarter, pose as doctors and get John transferred to a private clinic. With Jane also captured things look very black. This brings us back to the atmospheric opening which showed John staggering down an ill lit street, wounded, the very essence of film noir
THE DELAVINE AFFAIR (1955, directed by Douglas Peirce, Nettlefold Studios, 3*)-
Reporter Rex Banner (Peter Reynolds) investigates the death of Gospel Joe, who seems to have
stumbled on the secret of the theft of the Delavine jewels. 'Tea at Ethringham' is the clue that
brings Rex to jewel dealer Meyerling, "I shall have to call you a liar." Rex finds he has a
double of sorts, actually a friend of his wife Maxine, Peter (Gordon Jackson), and he is
the wanted criminal. At Wilson's Farm where the jewels are hidden, there's a showdown. All
pretty wooden, the best moment is when Maxine (Honor Blackman) threatens to flirt with
STOCK CAR (1955, Nettlefold Studios, directed by Wolf Rilla, 3*) - Monty nicks a car, taking it to a garage his boss McNeil is about to foreclose on. The owner had died in a stock car crash, and his daughter Katie, a nurse (Rona Anderson) is vainly trying to keep the business afloat. Her dad's "buddy" Larry Duke (Paul Carpenter) helps her, but then swans off with McNeil's girl Gina (Susan Shaw) when she accuses him of causing her father's accident. Larry enters a race to pay off the mortgage, but of course he is nobbled and crashes...
SPIN A DARK WEB
(1955, directed by Vernon Sewell, Nettlefold Studios, 4*)
- Betty (Rona Anderson) has falled for this handsome Canadian Jim Bankby (Lee Patterson) who's got a new job through his old army buddy with the crooked gang of Rico (Martin Benson). Rico's sister Bella falls for Jim.
Rico has fingers in many pies, protection and fixing betting. One boxer Bill doesn't throw a fight as suggested, and is done in. He's Betty's brother.
Rico's next scheme is to get Jim to tap phone lines to fix the odds on a horse race at Ripon to his advantage. "We won!" 10 to 1.But Jim realises he's been "a fourteen carat sap" when he watches Bill's killer being ruthlessly silenced by Rico's henchmen, "like," as Bella grimly puts it, "squashing a fly."
Of course Betty hides Jim as he tries to escape the gang's clutches, but she and her dad wind up their prisoners. With Martin Benson in one of his typical villainous roles, and Rona Anderson as ever defenceless, it's only a pity the film has taken so long to get to this tense finish
JOHNNY YOU'RE WANTED (1955, directed by Vernon Sewell, Nettlefold Studios, 4*)-
Lorry driver Johnny (John Slater) gives a frightened girl a lift, but discovers her body later, run over. She was Anne, assistant to an astrologer (Garry Marsh), who performs his stage act in local music halls. It transpires she had been murdered, and Johnny investigates in between interludes of fairly juvenile humour. The proper police link the case with drug smuggling, and Johnny agrees to help catch the gang. On the Southampton express (loco no 35025), the boss is nailed
SUSPENDED ALIBI (1956, directed by Alfred Shaughnessy, Nettlefold Studios, 5*)-
Paul Pearson (Patrick Holt)
"walks like a man with a guilty conscience" over his affair with Diana (Naomi Chance). His young son Bobby's knife is found in the lung of actor Bill, who was giving Paul an alibi while he saw Diana one last time. Paul's wife Lynn is "in for a shock," when Paul has to confess to police. But when Diana, out of spite, refuses to confirm Paul's tale, and the killer Steve, to protect himself, kills her, "it couldn't look blacker" for Paul. He is tried and found guilty. The scenes with Honor Blackman as Lynn are perhaps the best, it's like "some sort of dream." Steve's simple oversight with a pencil thankfully enables Paul's name to be cleared, "your troubles are over"
BOOBY TRAP (1956 Nettlefold Studios, directed by Henry Cass, 2*) -Oh dear, an absent minded professor leaves his "box of tricks," a remote controlled bomb, in a taxi. Sammy a spiv (Harry Fowler) finds it and pawns it, but lured by a £30 reward tries to get it back for the prof. Frustratingly, slowly he tracks it down, with bouts of heavy handed humour not improving matters, worse some cliches, even "you dirty little rat." A gang of dope smugglers is caught up in all this inactivity, though there is a fairly exciting final scene as the villains zoom off down the A3 with the prof's bomb about to explode
PASSPORT TO TREASON (1956, directed by Robert S Baker, Nettlefold Studios, 7*)- Private eye Ben Conners is killed, so his friend Mike O'Kelly takes on his current assignment- to weed out the traitor in the League for World Peace. As the London fog descends, he tangles with the president (Clifford Evans), the brusque Dr Randolph (Douglas Wilmer) and Diane Boyd (Lois Maxwell), at once enigmatic and treacherous. O'Kelly stumbles on the secret code- "it always adds up to 27," and after some thrilling chases gets hold of the list of traitors, in this typically British film noir, with Rod Cameron proving a solid, if unspectactular American star, as he rescues the maiden in distress
NO ROAD BACK (1956, directed by Montgomery Tully, Nettlefold Studios, 4*)- Ma Railton (Margaret Rawlings) runs a gang of robbers even though she's blind and deaf. She has a tender spot for her eyes and ears, adopted daughter Beth (Patricia Dainton), and another soft spot for her son John who's training to be a doctor, ignorant of his mother's thieves' kitchen at the 99 Club. When John finds out the truth, he tries to interrupt their jewel robbery but too late. The ruthless Clem (Paul Carpenter) has killed the nightwatchman, after which the crooks fall out and John finds himself arrested for murder. Beth's character is the most ambivalent, "it takes two
to make one person," but the issues take far too long to resolve in a poetic ending that is at least ingeniously wild
BEFORE I WAKE (1956, directed by Albert S Rogell, Nettlefold Studios, 5*)-
Miss April Haddon has come back to Dawmouth after her father's accidental death. But she's like "a stranger in her own home," Florence her stepmother (Jean Kent) is the harridan, she the young innocent in this familiar enough plot, but well performed with an exciting climax. In three weeks April will inherit the family fortune, but her suspicion is her own mother had been killed by Florence as well as her father. Her one ally could be Dr Michael Elder (Maxwell Reed) but he seems blind to her fears, the local police sergeant (Alexander Gauge) is no more concerned. Everyone seems taken in by Florence's hypocrisy. "She's got to get rid of me," cries April. First it's the old runaway car trick. Then the poison, finally a drug and a crashed boat
YOU PAY YOUR MONEY (1957, directed by MacLean Rogers, Nettlefold Studios, 3*)-
Steve has a new admirer in Mrs Delgado (Jane Hylton) but his pals Bob and Susie (Honor Blackman) can see she's "the feeblest liar in the business." She's in league with the shadowy League of the Friends of Arabia. Bob is sent by Steve to collect a consignment sent by boat, as the rendezvous is at three in the morning, it's evident some dirty work is afoot. The League grab the goods, valuable books, as well as Susie, and this could allegedly "set the whole of the Middle East aflame." The film moves at a stately pace, nice and straightforward, eking about a half hour plot into an hour, with Hugh McDermott as Bob occasionally threatening to add some spark to proceedings
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