Dinosaur Films - July 2009 Magazine
Reviews and Background details on mostly secondary b/w British films. David Moore email
Reviews . . . Actor Profile . . . Backstage Profile . . . Main Feature . . Silents Please . . . Rarities . . . . New Elstree Studios . . . Merton Park Studios. . .
Southall Studios site
OUT OF TRUE (1951, directed by Philip Leacock, 5*)-
The events leading up to the attempted suicide of Molly (Jane Hylton). A documentary drama aimed at showing how doctors treat such depressed persons. However the root of Molly's problem is self evident, her mother-in-law (Mary Merrall, see 3) who lives with her and her two children. "I wanted to kill her."
After Molly has jumped off a bridge, only to be rescued from the Thames, the treatments help her improve, though frankly what is most needed is for the source of her angst to be removed. The most dramatic scene, with fine rainswept photography (see 4), is when Molly discharges herself, "I'm better!" But back home she can't cope and returns to the gloom of the asylum. This story ends happily when mum is persuaded to leave. Jane Hylton acts the part well, though there are never any deep insights into her inner turmoil.

This review from a 16mm film print, which I am happy to swap for something else unusual. Please email me

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Backstage Profile -

Patrick Jenkins (1915-?)

After school at Dulwich College, Patrick joined Alexander Korda working behind the scenes on the 1936 Knight Without Armour. This led to his becoming second assistant director on The Four Feathers, Q Planes and The Spy in Black.
Though he joined the BBC tv service as studio manager in 1939, with the closure of the service he joined the army and worked for the Army Film Unit, becoming assistant director on Desert Victory and production manager for The True Glory.
After the war, he joined International Screenplays as assistant director, making films such as Bond Street. His first film he directed was when he joined Exclusive, and was the 1952 The Gambler and The Lady. However, he does not seem to have made any further films.

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Actor Profile - Griffith Jones

Born in London in 1910, Griffith Jones studied at University College before entering films in 1930 (according to his own entry in the Film Yearbook).
He made numerous films in the Thirties from dramas to musicals, though I don't think he ever sang. After serving in the forces from 1941-1945, he returned to films appearing in the Gainsborough classic The Wicked Lady, and in contrast, Henry V. Altogether, he is considered to be a reliable good looking leading man, yet he never had a great starring role. Nevertheless as a B movie star he is as good as the best of them, and look at how versatile he was!
His last film apppearance was in 1982 in Nicholas Nickleby. He was also a familiar face on stage and in television drama.
He died in 2007.
Daughter Gemma, has perhaps eclipsed him in fame.

A selection of his interesting and varied screen roles:
1935 First a Girl - romantic lead opposite Jessie Matthews
1948 Miranda - the classic comedy with Glynis Johns
1957 Account Rendered - now star of B movies
1958 Hidden Homicide - another B movie thriller, rather ingenious
1965 Strangler's Web - another Merton Park thriller, he plays a once famous actor

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Film Reviews-
THE AGITATOR (1944, directed by John Harlow, National Studios Elstree, 5*)- Peter Pettinger (Billy Hartnell) "can speechify," and he uses his oratory to brand his employers as "parasites, incompetents who grind fortunes out of the poor." But there's a personal reason behind his animosity, for he believes his boss Overends had stolen his late father's invention and made a fortune from it. Of course behind every man there's.... in Peter's case she's the plain speaking Lettie (inset). This is a slow start to the film, pedestrianly spouting its political points. But his old boss sees injustice has been done and when he dies, remarkably leaves the factory to Peter, turning the worker into a capitalist who desires to be "a model employer," sharing profits with his workers. However his oratory seems to have been all hot air, for now his blustering goes down not at all well with his former mates. Even his old mum finds the change too much and his "new painted miss" a Jezebel (main picture). After Peter has made his final managerial mistake, it's disappointing to find fisticuffs being used to resolve the conflict with brash foreman Tetley (John Laurie). Old Ben (Moore Marriott) knocks over the foundations of Peter's empire when he proves he was the real inventor on which the fortune was made. Peter makes one final eloquent plea to his workforce to restore harmony as the film winds down, though in between there is much to enjoy
THE ROSSITER CASE (1951, directed by Francis Searle, 4*)- "Where is your husband?" Sir James, a specialist, inquires of Liz, a cripple. She doesn't know, but surely suspects Peter is gallivanting with their attractive neighbour Honor. This film makes a slow start, but gives an endearingly wistful portrait of Elizabeth, who desperately wants reassurance from her husband, in a scene peppered with "darlings." After much brooding, Liz is pushed in her wheelchair to Honor's cottage. Piano music throbs as the two rivals face up to each other. "He's through with you Honor." Honor's riposte is to reveal she's expecting. The bitter row ends in death. There is no light in the shadows of this dark drama. "I'm lying now. I could go on lying, but I should still be in my prison." A melodramatic finish in the grand style
SUSPENDED ALIBI (1956, directed by Alfred Shaughnessy, Nettlefold Studios, 4*)- Paul Pearson (Patrick Holt) wants to finish with "tall voluptuous" Diana. His friend Bill provides him with an alibi while he goes to break it off. It's just bad luck that Bill gets into an argument over cards and is stabbed to death. With a knife that is Paul's. The killer then silences the only one who can tell of Paul's real movements that night, Diana. So Paul is convicted and his wife (a subdued Honor Blackman) and best friend Sandy try to gather evidence to prove Paul's innocence, as the shadow of execution looms ever near. A great idea for a film, though the atmosphere is sadly muted
ACROSS THE BRIDGE (1957, directed by Ken Annakin, Pinewood Studios, 3*)- That much used police car XPC898 brings police to interview Schaffner (Rod Steiger), a giant amongst multi-national bosses. We follow his attempts to elude justice as he travels across the USA aiming to cross the bridge into Mexico. He can get in as he's stolen another man's passport. But a twist of fate means that this man is a wanted political killer. "A long way from Scotland Yard" is the familiar figure of Bernard Lee who's out to extradite Schaffner back to Britain. The plot grinds on as our policeman arranges a dubious plot to draw his quarry back over the bridge. He starts along it, senses a trap and jumps off. Crumbs, Scotland Yard's senior officer is nearly arrested! But of course the film has to be about Mr Steiger and his final descent to the pits. Some Yard cunning finally lures him back over that bridge.
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Silents Please
It's high time we celebrated a few silent British films!
Mostly forgotten now, this series will revive some long dead corpses....

Juan Jose, aka 'Life'
Made in 1928 at the Whitehall Studio Elstree.
The star and director was Chilean Adelqui Millar (1891-1956), with co-star Marie Ault, pictured.
Others in the international cast were Manuela del Rio, a Spanish dancer, and Marcel Vibert. Millar, also known as Adelqui Migliar, saw this role as the culmination of his work, for he had acted the role of Juan on the continental stage for many years. Indeed, with the demise of the silent film imminent, this proved to be his last film.
A reporter for Picture Show visited his purpose built studio in the summer of 1928 to watch shooting. The main studio, with immense shutters at each end that moved on rollers, had doors off leading to the dressing rooms. There were also a smaller studio for intimate scenes, and another fitted with 'panchromatic' lighting.
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MAIN FEATURE
WENT THE DAY WELL (1942, directed by Alberto Cavalcanti, Ealing Studios, 8*)
Pretty Bramley End is that typical English village, peaceful, like many that folks nowadays claim never existed. This is a heartwarming story of ordinary people's courage when faced with the Nazi war machine in their own homes. It's enhanced by William Walton's music and Mervyn Johns' homely introduction. He tells this as a warning to those English tempted to make light of fifth columnists as, in the guise of English soldiers, a group of Nazis take over the peaceful village. As a preliminary to a general invasion of the land, this unit's task is to jam all radio communications.
The nice friendly Britishers take these Nazi vipers to their bosoms, until nosey young George (Harry Fowler) finds some 'chocolate' spelt the German way. Unfortunately Nora confides this odd detail to the quisling in the village, Oliver Wilsford with the result that Bramley Green has to be sealed off from the outside world. The major in charge makes "a monstrous interruption" of the Whit Sunday service, the vicar shot dead in a breathtakingly impressive scene. Locked in the old church, the imprisoned villagers do finally overcome their guards.
Of all the fine character studies, I especially liked Muriel George as the brave postmistress, who barehanded, kills her guard, only to be struck down herself. Marie Lohr as the lady of the manor comforts the children "in the midst of a most terrible nightmare." Then there's that traitor Wilsford played by Leslie Banks, you long to receive his desserts. His girl Nora (Valerie Taylor) learns the grim truth and, in cold blood, shoots him. Thanks to the bravery of the local poacher (Edward Rigby), young George gets past the Nazi blockade and summons help for The Battle of Bramley End, as they "give the Germans a bit of their own back."
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FILM RARITIES

Brief details of films we have not seen, but would like to find in the tip!

THE HIGH TERRACE

Where do all these old films disappear to?!

This 1956 British film had the obligatory American star, rather a novelty to feature Dale Robertson, much better known for his Westerns.
The director was Henry Cass. Apparently uncredited in the smallest of parts was Arthur Lowe.

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