Janet is a young student at a private school; her nights are troubled by horrible dreams in which she sees her mother, who is in fact locked in an insane asylum, haunting her. Expelled ... See full summary »
In this engaging costume melodrama of skulduggery on the low seas set back in the 18th-century, the Royal Crown suspects a bit of smuggling is going on in this locale, and they send Captain... See full summary »
Peter Graham Scott
An American in London, down on his luck, runs into a beautiful blonde in a bar who offers him a lot of money to marry her. Broke and unemployed, he takes her up on it. When he wakes up the ... See full summary »
Jean Carter, nine-year-old daughter of the town's newly-appointed school principal, Peter Carter and his wife Sally, is playing in the woods with her 11-year-old friend Lucille, when Jean discovers she has lost her purse containing her "candy" money. Lucille tells her she knows where they can get sweets for nothing, and leads her to an imposing mansion, from which the owner, Clarence Olderberry, Sr., a tall, gaunt man of 70 has been watching the girls from a window. That night Jean, unable to sleep, tells her parents that Oldeberry made her and Lucille dance before him nude in exchange for some candy. Carter files a complaint, but the local police chief, Captain Hammond, is skeptical of Jean's story and warns Carter that the Oldenberry family put the town on the map and have far more standing in the community than the new-comer Carters. Oldenberry, Jr. also tells Carter that if he follows up on the complaint he may be certain that Oldenberry's lawyers will show Jean no mercy. In the ... Written by
Les Adams <firstname.lastname@example.org>
When Martha returns home after her aborted attempt to go to the hairdresser and she sits down, a shadow of the boom microphone is briefly visible on the stone wall behind Sally. See more »
[Peter brings Jean home. The police and many town people gather around. Sally hugs Jean. Clarence Olderberry Jr. approaches them, grief-stricken and distraught after discovering what his father did to Lucille]
[to Peter and Sally]
He killed her! My father... he killed that little girl!
Mommy... I was frightened.
[hugs Jean closely]
It's alright, darling. You're safe now. You're home.
[Sally takes Jean into the house]
[...] See more »
I don't know who's more dangerous, you or your father?
Never Take Sweets from a Stranger is directed by Cyril Frankel and written by John Hunter who adapts from the play Pony Cart written by Roger Garis. It stars Patrick Allen, Gwen Watford, Janina Faye, Felix Aylmer, Michael Gwynn, Alison Leggatt and Niall MacGinnis. Music is by Elisabeth Lutyns and John Hollingsworth and Megascope cinematography by Freddie Francis.
British family the Carter's have emigrated to small town Canada and are rocked when it is revealed that 9 year old Jean (Faye), and her friend Lucille (Frances Green), were asked to dance naked for candy at the home of elderly Clarence Olderberry Senior. Filing an official complaint, parents Peter (Allen) & Sally (Watford) are astounded to find the town's denizens are reluctant to believe the Carter's take on things. It becomes apparent that the Olderberry family were instrumental in the building of the town and the family has much power within it. With the town closing ranks on the British outsiders, there's a real chance that a suspected paedophile will go unpunished and maybe strike again?
Thought provoking and intelligent handling of sensitive material, Hammer's Never Take Sweets from a Stranger has finally garnered the credit it deserves. Back on release the taboo subject of the plot ensured the film was mostly shunned, with bad marketing also proving to be a hindrance. However, it is ahead of its time in many ways, Frankel's (School for Scoundrels) picture manages to gnaw away at the senses with its calm and measured approach work. Francis' (The Innocents) black and white photography a clinical ally to the realism wrung out by Frankel.
The alienation of the Carter family is steadily built up, the small town mentality to strangers in their little world unspools calmly by way of credible acting and believable passages of dialogue. By the time the last third arrives, the frustration of the Carter's is shared by the viewers, things get legal and gripping, and then it's the uncoiling of the spring to unleash the denouement. Point made, a message movie of some standing, monsters in our midst indeed. Not merely the predators preying on our children, but also the guilty around them, ignorance most definitely isn't bliss. 8.5/10
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