When he is pulled up in court for selling stuff on the street, Horace Pope says he was only doing it while waiting to enlist. The judge calls his bluff and forces him to sign up. Pope makes... See full summary »
A small time thief is recruited by a mobster to help with the racketeering. He doesn't like the job, but with the mob on his back, a femme fatale in his bed and a sick friend to care for, he will have to keep all his wits about him.
Tyrannical but ailing tycoon Charles Richmond becomes very fond of his attractive Italian nurse, Maria. The nurse, in turn, falls in love with Charles' ne'er-do-well nephew Anthony, who plots ways to gain control of his uncle's fortune.
Lana Turner is a female American journalist who has an affair with BBC war correspondent, Sean Connery, during WWII. When Connery is killed in action, Turner returns to his hometown to console his wife. Written by
Ray Hamel <email@example.com>
Whilst on assignment in a very 1950s-looking WW2 London, a plastic-haired US ace-journo' (Turner) and an impossibly baby-faced Cornish ace-journo' (Connery) are lost in the throws of a torrid affair, despite the disapproval of colleagues (stiff-upper-lip Longdon, laconic James). However, even as declarations of undying love are uttered, dark clouds loom in the form of Turner's newspaper boss and erstwhile lover Sullivan, and Connery's shock disclosure that he has a wife and child tucked away in his native Cornish village. When Connery is killed in a plane crash, a devastated Turner makes a pilgrimage to his native Cornwall where her path crosses that of his wife and child...
Risible weepy, serving as a star vehicle for Lana and an early showcase for the handsome young Connery, both of whom fail miserably to convince. Turner seems to possess only three facial expressions, even when trying to stay upright in her stilettos as she totters round 'St. Giles' (actually Polperro) - witness her horribly 2-D efforts to comfort Martin Stephens after his nightmare. Meanwhile Connery's description of his Cornish fishing village birthplace is delivered in such a rich Edinburgh brogue as to be quite giggle-some.
So often the case with British cinema of the 40s and 50s, it's the support players who steal the show - Glynis Johns' is a beautifully judged and modulated depiction of a woman recovering from grief. Her resolute kindness, generosity and warmth make her reaction to the final reel revelations all the more believable. Sid James shines as a world-weary American journalist trying to juggle loyalties, and Stephens' post-nightmare scene is desperately convincing.
Sadly however, excellent support playing, and beautiful location shooting are just not enough to save this overwrought turkey.
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