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

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

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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Genres:

Crime | Drama

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Release Date:

29 September 1966 (Mexico)  »

Also Known As:

Apartamento de Solteiro  »

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Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

Julie Christie and Suzan Farmer auditioned for the role of Ilsa. See more »

Connections

Referenced in The Great Vazquez (2010) See more »

Soundtracks

Gettysburg March
(uncredited)
Traditional
Arranged by Ken Colyer
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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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