6.5/10
965
21 user 13 critic

Gumshoe (1971)

PG | | Comedy, Crime, Drama | December 1971 (UK)
Nightclub comedian Eddie Ginley fulfills his Dashiell Hammett love by putting an ad in the paper as a private eye.

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Nominated for 2 BAFTA Film Awards. Another 1 win. See more awards »
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Cast

Cast overview, first billed only:
...
...
...
William
...
Mrs. Blankerscoon
...
Alison
...
Straker
George Innes ...
Bookshop Proprietor
George Silver ...
De Fries
Bill Dean ...
Tommy (as Billy Dean)
...
...
Naomi
Neville Smith ...
Arthur
Oscar James ...
Azinge
Joe Kenyon ...
Joey (as Joey Kenyon)
Bert King ...
Mal
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Storyline

Ginley (Albert Finney) is a nightclub bingo caller eager for a career change. On his thirty-first birthday, he advertises himself as a private eye in the newspaper. He dons a trench coat, and begins engaging others in rapid-fire dialogue as if he were Humphrey Bogart, or some Dashiell Hammett creation. Soon after, Ginley is phoned by a fat man, who gives him a package containing a gun, a photograph, and a large sum of money. Eventually Ginley is investigating a case involving smuggling of weapons as well as drugs. Ginley also finds himself at odds with his unsupportive brother, who offers Ginley payment to break off his investigations. Eventually Ginley learns of his brother-in-law's involvement in the crimes at hand. Ginley faces a series of daunting tasks: solving the crimes, bringing justice to the smugglers (and a murderer), as well as maintaining his safety and sanity in the process. Written by veloc <velo_00@yahoo.com>

Plot Summary | Add Synopsis

Taglines:

Ginley's a gumshoe. Ginley's got guts. Ginley's got a gun. See more »

Genres:

Comedy | Crime | Drama | Mystery

Certificate:

PG | See all certifications »
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Details

Country:

Language:

Release Date:

December 1971 (UK)  »

Also Known As:

Auf leisen Sohlen  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Eastmancolor) (uncredited)

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

To prepare for his roles as Eddie Ginley in this film, actor Albert Finney watched many hours of old Humphrey Bogart films in order to master the mannerisms of movie private eyes. See more »

Quotes

Tommy: [Eddie has gone to Botha Export Co Ltd for further investigations] We're closed!
Anne Scott: Got your coat?
Tommy: Yeah!
Anne Scott: Put it on.
Tommy: Who are you?
Anne Scott: Board of Trade.
Tommy: Well, what do you want?
Anne Scott: We have Powers Of Search.
Tommy: You don't look like the Board Of Trade to me.
Anne Scott: We're changing the image. Would you sit down please. Oh, wait. You've got something on your eye. No, don't touch it, don't touch it. Leave it to me. Relax.
[...]
See more »

Crazy Credits

The opening Columbia logo does not have the Columbia name on it, just the lady with the torch. See more »

Connections

References Casablanca (1942) See more »

Soundtracks

Moulin Rouge
Music by Georges Auric
Lyrics by Jacques Larue
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User Reviews

 
Strange cult movie that is not for everyone.
19 October 2005 | by (United Kingdom) – See all my reviews

A Liverpool bingo caller of the 70's enlivens his dull life by taking on an old style private detective alter-ego. Complete with raincoat and accent!

This is one of my favourite cult movies and this might be a good chance to try and look inside my own mind and find out why. Leading with the negatives, this film has a few ideas, but not enough to make a full film out of them. If you feel that some of the scenes are padding (quite a lot actually) then you are right!

Finney fancies himself as a kind of Sam Spade let loose on a Liverpool of the 1970's (interesting to see it like it was in the 60's) and we enter the slightly seedy world of the working man's club. Something that those outside of the UK will find hard to grasp -- a kind of cheap private drinking hole meets low rent cabaret.

The real problem is that the thing is weakened by non of the parties (especially the lead) seeming to be taking the case seriously, which means that while he is in limited danger we are more yawning than sitting on the edge of our seats.

What makes it for me is the fast word play of Finney and the general irony of the script in going in to places that fashion says we shouldn't be going. It leads up to a giant feeling of so-what -- but I like to see movies that are a bit different and it always holds me in its strange faded and seedy grip. Maybe it has something to do with having been to these sorts of places myself.


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