Desperate to earn money, Harry hooks back up with Joe Easy. The best scene is when they make the final run to cash out a load of furs and they get lost on the way through the forest. The ...
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Desperate to earn money, Harry hooks back up with Joe Easy. The best scene is when they make the final run to cash out a load of furs and they get lost on the way through the forest. The three drive the truck over the mountain to connect with the waiting ship in the harbor. The rocky terrain is a tense journey, until they try to cross the steam. Then it gets really good when they get stuck and have to remove a front tire in the middle of the stream. Harry's arm gets caught under the truck fender, they get loose but can't get up the embankment. There's an OK fist fight and then the trucks load slide off and crushes Joe Easy. That gets Harry & Lynn to the waiting ship. Harry then has guilty remorse and returns with Lynn to the wife and hospitalized son. They reconcile and the Police arrest harry for all his crimes.Lynn heads back to her dead end life at "The Congo Club" Written by
MANY FINE CONTRIBUTIONS CAN NOT OVERCOME THE SCRIPT.
This is a stalwart attempt to produce an example of British Noir, its screenplay reducing its importance. Distributed by Columbia, this work based upon a novel by Mervyn Mills was well received in England, due in large part to popularity of its principal female player, Diana Dors, whose skill as actress stands and falls solely upon her physical attributes. Victor Mature portrays Harry Miller, an American soldier who, after his discharge in Germany, moves to England with wife Connie (Gene Anderson) and son since his spouse rejects all attempts to return to the United States with his new family. Harry finds employment, through an uncle of his wife, as a truck driver, his occupation in military service, and carries out his duties with diligence, but tension increases for the married pair because of Connie's determination to remain in England near her family. Harry's strained home life makes him vulnerable to a liaison with Lynn (Dors), girl friend of illicit marketeer Joe Easy (Patrick Allen) and the ex-G.I. soon forsakes his honour by becoming embroiled in smuggling operations with Easy. The script written by director Ken Hughes is hackneyed as Hughes relies upon melodrama at the expense of character development, as evidenced by his often trite dialogue. Not surprisingly then the most interesting action takes place during scenes requiring little discussion, when Harry, Joe and Lynn are struggling to maneuver a large fur-laden rig across rocky expanses in the Scottish Highlands to rendezvous with an anchored vessel. Mature makes the best of his lines, giving an earnest performance but acting honours go to Allen with his consistent reading as Harry's dishonest boss and rival for Lynn's affection, while good turns are given by Liam Redmond and John Welsh; Dors is barely adequate, until she speaks. Suitably atmospheric jazzy scoring by Trevor Duncan and Basil Emmott's fluid camerawork are impressive, along with skillful contributions from Raymond Poulton (editing) and John Hoesli (sets), all sadly minimized due to a banal scenario.
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