A woman races against time to clear Nicholas Talbot of a murder he did not commit. While she works on getting proof, the prosecution is doing all it can to force a conviction.

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Cast

Cast overview, first billed only:
Hugh Williams ...
Greta Gynt ...
Marius Goring ...
Francis L. Sullivan ...
Prosecuting Counsel
Henry Edwards ...
Inspector Archer
Rosalie Crutchley ...
Elizabeth Rusman
Marjorie Mars ...
Mrs. Newcombe
David Walbridge ...
Leslie Newcombe (as David Wallbridge)
Herbert C. Walton ...
Grieve
Dodd Mehan ...
Chemist (as D.A. Mehan)
Hugh Kelly ...
Casualty Ward Doctor
Dorothy Bramhall ...
Nurse
Nelly Arno ...
Mrs. Rusman
Frederick Morant ...
Concert Agent
Grace Denbigh Russell ...
Orchestra Leader
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Storyline

A woman races against time to clear Nicholas Talbot of a murder he did not commit. While she works on getting proof, the prosecution is doing all it can to convict Mr. Talbot of killing his former girlfriend. Written by blogmonstermike.wordpress.com

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Release Date:

1947 (Germany)  »

Also Known As:

Das rettende Lied  »

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Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
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Trivia

The line that Elizabeth Rusman writes is from Lord Byron's epic poem, "Don Juan," Stanza 199. "Alas, the love of women! it is known To be a lovely and a fearful thing." See more »

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User Reviews

 
First-rate British Noir Murder Drama
14 October 2008 | by (United Kingdom) – See all my reviews

This is a superb example of a high-calibre British postwar murder mystery. It was the first film ever directed by Ronnie Neame, who is mostly famous for his classics 'Tunes of Glory' (1960) and 'The Prime of Miss Jean Brodie' (1969). The cinematography by Guy Green (later a director) is inspired and intensely expressionist in the German manner. Neame really shows what a brilliant director he was, not only coaxing excellent performances out of his actors, but keeping the pace and the tension despite the fact that the identity of the murderer is revealed very early. Francis L. Sullivan is, as usual, hair-raising as the prosecuting counsel, although his role should have been more prominent if the film had not been so short at only 76 minutes. (One suspects things were cut out before release, as the buildup of Sullivan really does fizzle out without explanation.) The scenes towards the end of the film really do become incredibly menacing and powerful, as Marius Goring, who plays the murderer in an eerie and intense style, can be seen calculating what he must do next, and sets about it with the methodical determination of a man who now has nothing to lose. Hugh Williams is excellent as the rather formal husband of Greta Gynt, an equally formal wife who is an opera star. It is difficult for such people to cope with real situations of danger, as their behaviour is so mannered, even in their most private moments, that quick thinking and quick action are impossibilities for them, what with all the thawing out they have to do first, not to mention the necessity of changing for dinner, straightening the black tie, and making sure every hair is in place. Sometimes when your life is in danger, such formalities can be rather impeding! But that is part of the irony of this tale, of which a subliminal motif is: things like that don't happen to people like us. In this film, the doomed victim is Rosalie Crutchley, who really was a fascinating wench at that early age, in fact, someone to whom you can imagine almost anything could happen, and it does.


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