This Michael Winner directed film looks into life at Notting Hill, London, then a seedy slum. A down on his luck Joe Beckett (Alfred Lynch) is recruited into crime by Richard Dyce (Eric Portman).



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Cast overview, first billed only:
Alfred Lynch ...
Kathleen Breck ...
Kathleen Harrison ...
Mrs. Beckett
Mr. Cash
Freda Jackson ...
Mrs. Hartley
Peter Reynolds ...
Harold Lang ...
Marie Ney ...
Mildred Dyce
Sean Kelly ...
Patrick Wymark ...
Father Hogan
Allan McClelland ...
Mr. Royce
Gerry Duggan ...
Father Dominic


This Michael Winner directed film looks into life at Notting Hill, London, then a seedy slum. A down on his luck Joe Beckett (Alfred Lynch) is recruited into crime by Richard Dyce (Eric Portman).

Plot Summary | Add Synopsis


Crime | Drama


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Release Date:

29 September 1966 (Mexico)  »

Also Known As:

Apartamento de Solteiro  »

Company Credits

Production Co:

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Technical Specs

Sound Mix:

Aspect Ratio:

1.66 : 1
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Did You Know?


Alfred Lynch replaced Oliver Reed who was unavailable. See more »


Referenced in The Great Vazquez (2010) See more »


The Garden Where The Praties Grow
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User Reviews

Smoothly made little Brit-pic
7 January 2016 | by (United Kingdom) – See all my reviews

A minor but very smoothly made example of British film noir. Director Michael Winner, then at the start of his career, had a strong cast (Alfred Lynch, Eric Portman, Diana Dors, Finlay Currie, et al) to inhabit this starkly photographed little crime melodrama set in London bedsit-land, all tacky Notting Hill coffee bars and smoky jazz clubs.

Lynch makes a downbeat but sympathetic protagonist, more thoughtful than the usual type of hero. Portman plays the clipped-moustache ex-military man-turned-swindler to perfection. Dors is just right, too, as a blousy divorcée ("Young enough to still want a husband; old enough not get the one I want").

Winner plays up the salacious sex element a bit, but a tight Keith Waterhouse/Willis Hall script touches on Lynch's Catholic guilt, and Currie's existential search for 'truth', just enough to give the story a modicum of depth. There's also an evocative score by Stanley Black, with Acker Bilk on sax.

Until latterly a neglected, even scorned, cinema sub-genre, these usually low-budget British film noirs, often superbly photographed, were violent by the standards of their day, and showed the rain-washed streets of cities like Newcastle (Payroll), Manchester (Hell Is a City) and Brighton (Jigsaw), as well as London, could be pretty mean, too.

Winner's next film, The System with Oliver Reed, was even better.

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