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|110 reviews in total|
It it is what it is...the OTHER Viking film of the sixties, A Moorish King, Aly Mansah (Sidney Poitier) cajoles after much fighting with his Viking adversary, Rolfe (Richard Widmark), looking out of place as much as the British supporting cast for a legendary 'Golden Bell' named 'The Mother of Voices' at the 'Pillars of Hercules'... well, there's much gold in that of course and we all know Vikings and maybe, a Moorish king, would love to have 'half the world in gold' if they could (as we would, without the adventuring). The Vikings at first as I've said, have an uneasy peace after nearly being executed by the 'Mare of Steel'... but choose instead to work together - and of course, it would keep the captured Vikings alive - for the time being! There's plenty of Viking-like drinking, using ladies for entertainment, talk of 'Odin' a captured wench-beauty in and on the 'Moor' side, Arabs who are reigned by a rich king with a lovely Rosanna Schiaffino as Aminah, his Queen. As mentioned, a strange miscasting for the likes of British supporting actors, Edward Judd, Colin Blakeley, Gordon Jackson and Dave Lodge as Rolfe's Viking 'crew'/stalwarts. I was half expecting Graham Stark, Sam Kydd, Percy Herbert, Michael Ripper and Harold Goodwin to be in there on that basis! It's as I say, a sixties-style Viking saga as much as 'The Vikings' was with its American headers of Poitier and Widmark and swashbuckling adventurism - still, this is what we grew up with and it's a lot better than the CGI nonsense and limited acting we see, so enjoyable when it has a TV run and welcome, just sit back and enjoy it! Nice touch as - shall I tell you, it does say 'Spoilers' at the top of my heading ... so read no further ... if... you wanted to know that the bell falls on Sidney Poitier and kills him! nice one! Filmed in Yugoslavia, this doesn't belie the fjords of Norway in any way.
*** This review may contain spoilers ***
Not anything to write home about, but I've always like Conrad Phillips
in these budget-flicks from 'Butcher's films' which seem to be doing
the rounds on obscure Satellite/Freeview channels and, put out by
'Reknown Films' on DVD.
A pretty thin story, of a reporter, Jack Moir (Phillips) who constantly bothers a local hoodlum nicknamed 'The Duke' Dukelow, with bad publicity about him. Needless to say, the latter has him put out of the way by framing him for a mail-train robbery of around £60,000. Moir is sentenced to 20 months in prison and swears/exacts revenge on his release. It's pretty staid to be honest. Two points, as Malcolmgsw points out, that 20 months for robbery of £60,000 especially involving coshing a cop, is a ludicrously short sentence, which would probably start at least eight years plus, even if you didn't serve the full term of it. Another load of rubbish surely is, as has also been said elsewhere, that the police (led by Mike Pratt) would surely not expect him to be hanging around waiting to be pinched with the evidence that was 'planted' on him (that he hadn't known about until they unearthed it). Of course, though, cops are cops 'We're a very narrow-minded lot' as was quoted in the film 'Villain' from Inspector Matthews. From an interest point of view, Ballard Berkeley as Moir's Newspaper boss puts in an early appearance before his 'famous' one as 'The Major' in Fawlty Towers. Anita West, 'The Duke's' resident singer and floosie disappeared as a character actress (sorry, actor) sometime in the seventies/eighties (Crossroads) but puts in a welcome appearance too. A pretty laughable ending is also had to add to the purile writing of the story. Again, bad skiffle and jazz music as well as short back-and-sides and Brylcreem add to the atmosphere but worth it only for a curious look of B-support movie featurettes..
*** This review may contain spoilers ***
This starts out as promising, with Paratroopers disappearing out of the
sky, 'in comes Jim' (Patrick Allen) as the sort of armed forces special
investigator to try to find out what's happening. If you didn't know
Sean Connery's brother, Neil, was in it, just watch and you'll almost
think it was Sean, as Allen's right-hand man/pal. Although his acting's
pretty wooden, it's worth taking a look for this reason alone.
The plot as I have said, starts off interestingly enough, but Allen is given a pseudo Anthony Hopkins Naval Officer (When Eight Bells Toll) type of persona coupled with Bond in chasing every bit of skirt that happens to come his way. Liaising with the sceptical 'Ministers' and top brass that values him (a rather uninterested-looking George Sanders) this bumbles along.
The location scenery is fair and there are a rash of good supporting British actors that make it a little interesting from a British film history point of view. Patrick 'The JAW' Allen's role is much like he always can't get out of, the suave-cardigan lolloping type. He's a good enough actor, but the script here doesn't do anyone justice. The plot concerns of course, yes, you guessed it, aliens snatching our boys, an enigmatic female (Lorna) whom Allen can't wait to pounce on, which is central to the plot (not him pouncing, Lorna!).
This was very 60s from Tigon at the end of the horror/sci-fi genre in British film making and it didn't do it any favours.
The music score/incidental music is done to the death/lamped up almost at every moment, perhaps it helped you from dozing off in the cinema as the plot gets lost, slows and is a disappointment, as is using the 'flying saucer' from the Dr Who film 'Daleks Invasion Earth, 2150'. That part of it definitely let it down further. Again, worth watching for a good British cast a lot of us grew up with in British film making but that's about all, don't invite your friends around for pop and popcorn on this one.
*** This review may contain spoilers ***
Another Harry Alan Towers production, which makes me wonder where he
gets the money from to do these low-budget flicks as surely even Mickey
Rooney wasn't cheap in those days, perhaps not as much as Lex Barker.
Towers had hired Barker before (Code 7, Victim 5). Rooney is the
perpetrator of his own misgivings in this one, as a conniving little
con-artist/smuggler to put it mildly, pursued by international villains
he owes. Interestingly, as others have said, set in 60s Beirut before
the near-destruction of the city just 20 years later and a flavour of
culture and sophistication, that indeed it was at the time. There's
plenty of Euro-crumpet along the way, as we're talking about a flight
crew whose plane has been grounded from flying on to London due to a
dickie engine - hence the '24 hours 'to fix-kill'', leaving Rooney (as
'Norman Jones') tailed by the villains in question.
Barker does his best as the dashing flight captain, to inevitably protect Jones among his own little romance with Helga Sommerfeld and ultimately his crew from the fez-wearing Walter Slezak character and his foreign minions. There isn't much typically Lebanese apart from the location, just hoodlums with guns, fisticuffs, Barker's avuncular approach to Rooney's character before his patience wears thin on him, and, as I've said a nice bevvy of beauties along the way.
It's standard fare, watchable but only just and special attention as mentioned to Beirut of the 60s - it wouldn't make it into the Oscars by any stretch, I hope they got some money back on it, but would think with the international cast (including the excellent bird-chasing Michael Medwin, he of my title quote) that was the idea to flog it around the English-speaking and European world - perhaps even the Lebanese went to see it! Again, no-one can fault the location shooting, may be worth it for that alone.
Fine cast of stalwart actors and superstars in mostly the British film
industry make their mark in this war-actioner regarding the mercenary-
era stories of note in 1960s-70s post-independent African countries.
This has a plot a little more than that with skullduggery at home from
a wealthy Industrialist, Stewart Grainger who's tasked Richard Burton
as Allan Faulkner a former Colonel, of course taking on the same mantra
with all the rag-tag of experienced ex-soldiers he can muster to
extricate (not kidnap really is it?) a made-up African leader Julius
Limbane (Winston Nshona) from of course a made-up African state of
To cut a long story short, that's the job. But you have to watch how easily it falls into that kind of film/movie. Right from recruiting the right-hand men, their protests from the wife/or the men's happily leaving them notes/divorce right away and although they're getting paid, no pondering on them perhaps getting killed violently thousands of miles away. The major Actors, Richard Harris, (Rafer Janders), Roger Moore (Shawn Fynn), Hardy Kruger (Peter Cotzee) playing a hard- lined Apartheid era soldier and of course the wonderful Jack 'NCO' Watson as well as homosexual (purposefully) support from Witty, played by the excellent Kenneth Griffiths' medic make this an excellent blood and guts saga of this kind of genre. What is of course added, is the issues in the film. Africa, hot exotic but not welcome in a sweaty fighting-atmosphere and our band up against what appears to be Cuban- led African soldiers (very tight on info here of the time!).
The mission goes ahead, parachuting into Zimbala but alas, after the extrication of Limbane from the prison where he was held, the men find they're double-crossed by Grainger and left to rot, for his new deal's with someone else and what is in his best interests. The team are now tasked with fighting their way out for themselves as well an injured Limbane.
Burton and Co. have to plan a new way out, get this, they actually stumble on a DC-3 some miles away from an irate Irish missionary priest (Frank Finlay) who's known begrudgingly to Janders. However, this is their little lifeline in a while, but of course, they're all getting wiped out along the way in getting to it! There are some usual and okay-ish action scenes and plenty of bullets flying as expected. Janders and Coetzee are killed more or less at the last knockings as is medic Witty in a last stand with a number of the African soldiers as is the stalwart NCO Jack 'Sandy' Watson. The remainder, Burton and Moore make the plane and fly back out. Limbane though, dies, so that was worth it!
What made the film which can be a bit standard is of course the good cast. There has been much made about the film for other reasons which are reflected 'in' it, for example 'Africa rising' as Limbane and the racist Coetzee exchange the ideology behind whites in Apartheid South Africa and the Africa movement to remove them. The two bond over what must be done to secure both their futures in the new Africa or South Africa that will come - coincidentally, the issues really DID make South Africa what it is as Mandela's fairness and compassion mirrored that of the banter between Coetzee and Limbane.
What makes it is as I said is the fine cast and as is mentioned, perhaps an American actor would have propelled it in the states more, as Burton, though respected in America was in his last throes of his career. There are good feelgood moments too when Burton takes out Grainger back home in 'Merry old' and neat touches like Coetzee killing guards with his cyanide-tipped crossbow. Some of the dialogue can be exceptionally British and dreadful 'isn't he a love', 'you two beauties' (Moore talking about a couple of hoodlums, incidentally, one of which is David Ladd, Alan's son - only a cameo role too small of course for the American-impact market as I mentioned).
A good, watchable film, but wouldn't say it's out of the ordinary, just a great cast nonetheless as I say! (Watch out for lesser-known but interesting actors, Stanley Baker's son as 'Esposito' and Ian Yule, Playing 'Tosh' a former real-life mercenary with Colonel 'Mad Mike' Hoare, who was also an NCO in 'Zulu Dawn'. 'Take the high ground!').
*** This review may contain spoilers ***
Not entirely awful, but not entirely good either, Mainly, if you're a fan of the British film-noir crime genre of course. David McCallum, a brooding, vicious, little villain decides to kill for money. Enter his old chum Kenneth Cope, fresh out of prison as the mate wanting his cut from another job they did yet HE went inside for. McCallum talks his chum into that 'one last job'at the strip club he frequents, having sized-up the Boss's takings from the office safe even though Cope's five minutes out of prison. But can McCallum ride his luck and stop at killing? Nope - he carries on, basically. That's about it and of course, as no-one in those days in British cinema at least was allowed to be seen to be getting away with crime, (until after 1970 I believe?). That's about it as I say, he gets his in the end. Set among the world of a strip club in typical 50s/60s style of Brylcreem, cigarettes and bad jazz music complete with cymbals at the drum kit,(oh and London smog) the script is pretty ordinary and does drag in a few places. It has its 'kitchen-sink' atmosphere, arguing with his dad, but he is a villain so it's not surprising. However, it has just enough to hold you as another one for the wet Saturday/Sunday afternoon slot when you haven't anything to do. It IS, interestingly worth seeing alone perhaps for McCallum playing an out-of-character villain, with a cockney accent of sorts, something not seen a lot of in his career, the only other one offhand I can think of for him was 'Violent Playground'. Although Cope's played 'wrong-uns' he plays a good role as just that. Worth also of note, McCallum's then-wife Jill Ireland starring as the 'girl in the picture'. Pretty lame ending but the one you couldn't do much with, well, they couldn't here!
*** This review may contain spoilers ***
No doubt about it, this is THE most memorable martial arts film of all
time. One, the master, Bruce Lee, totally excelled in, even if there
are a lot of choreographed moves, it/he still looks ultimately
impressive. The film however does have a fair plot. 'Braithwaite' a
sort of pseudo-crime agency bigwig, recruits Lee, to bring down a drugs
and crime kingpin, 'Han'. Han, of course, 'lives big' as is said in the
film, on an island of his own, with an added 'sportsman-like' attitude
(or so it seems) in bringing all the martial arts talent into one place
for a fighting tournament. This brings Lee into contact with also, some
of the real dregs of society - ones that can fight! Roper, (John Saxon)
a kind of fair-spirited guy lead by his gambling addiction and running
away from it/the trouble he's in and his chum he bumps into, the
somewhat rough diamond, but spirited, 'flashy' 'Williams' played by Jim
Kelly. The know each other well from their days in 'nam. There are
others introduced like 'Parsons' another ne'er-do-well. Braithwaite
also has a female agent on the island whom he's not sure is still
alive, May Ling.
Braithwaite co-erces Lee into doing his bidding in trying to either bring Han down or at least let him get word to Braithwaite and HIS chums to take him down at the right moment. After all, a wily old man, lets Lee know that Han's right-hand man, 'O' Hara' murdered his sister. It's the old revenge trick that gets Lee to finally make his mind up and take Han on for the death of his sister - now it's personal!
There are various fights and excellent fight scenes in the tournament. Lee even gets his chance to revenge his sister in killing O'Hara by some martial arts shoot-out, er, 'kick-out'.
There's all sorts of entertainment on the island - girls for the likes of Roper and Williams especially, good food, a chance to enter some kick-ass martial arts games and us getting to see them. Lee has found May Ling and they plan to expose Han and alert Braithwaite as May Ling says a lot of girls go missing in Han's sewer of drugs and prostitution.
Lee in the meantime, dresses in black, scales and scouts the island for information into Han's den of depravity and degradation.
Part of all the 'enjoyment' on the island is to sucker-in the dregs Han's invited to bring some more 'talent' into his little empire. This doesn't run to letting people run around his island. But Williams, even though having been warned, sampling the moonlight after his session with the girlies, gets the blame for Lee doing it. Han announces to all in the tournament courtyard, someone wasn't where they should be but uses this to demonstrate he isn't messing around - he blames his guards for the failure and shows all and sundry through his other henchman 'Bolo' that they'll be summarily executed by kicking, stamping and the breaking of necks etc., of the guards. To emphasise Han knows HE knows Williams was the perpetrator of the spying, (even though it was Lee) he slyly asks Williams if he's shocked, the flash one himself replies: 'Only how sloppy your man works!' (Trying to convince Han he isn't scared of what he's just witnessed). Roper isn't impressed at all and says to his good pal Williams they need to talk about what's happened! Han's marked Williams for death and they have a fight-out, Han with clawed false hand and all, after accusing him of being the 'spy' (when it was Lee anyway).
Han now lets Roper, William's good pal, know about his 'operation' letting him know HE knows all about Roper's background and would be a good cadet for him. It looks like Roper may be swayed, but then Han lets him know the price of folly, failure and betrayal - he shows him Williams hanging from the rafters - Roper, sickened, especially by seeing his dead chum rebels.
A fight ensues, Lee even does some amazing fighting with all of Han's useless remaining guards (reminds us of all the droids in the later 'earlier' Star Wars serials - I mean what use ARE they all?!?).
Lee's locked up, but in James Bond style, he'll always escape - he also lets out various prisoners held in Han's dungeons who will undoubtedly make a massive army to take on Han's guards. (Convenient, eh?!).
The summary massive fight ensues in the outdoors, with hundreds of feet and fists flying everywhere, but of course, Lee will take on Han. With a tense bit of fighting near the end, Lee of course, takes Han out. The prisoners who helped have done over Han's men (they would be 'better' than Han's wouldn't they?). An end shot of Lee and Roper giving the thumbs-up to one another and the late arrival of Braithwaite's guys invading Han's island brings the film to a good close.
We can always pick holes in this film but on the whole it was massively enjoyable with never a real dull moment. As I've said, with Lee at his best and still with a central plot. The beautiful Ahna Capri (who is killed in the final melee) was Han's head concubine who had a little crush on Roper, lends some glamour. (There's no real love-interest thankfully - May Ling looks a little longingly at Lee but that's about it, as I say, thankfully!). Also, there would be big issues among some with stereotypes (check my heading - from a Chinese person to Lee!) and even Jim Kelly, although hamming it up big time, seems very ''Shaft'-and-medallion-wearing like', but this was also the '70s. Another aspect, dare I say it - EVERYONE AND ANYONE oriental can do martial arts it seems!
This was an extremely weird but enjoyable series, of comedy-drama, focussing on the locals who live in the 'Crezz' (Crescent) in a supposedly-normalised suburban area. It had a mish-mash of famous British faces perhaps focussing also on people who were normally known for both comedy or drama. The main character actor was Joss Ackland. I remember one particular episode where the residents were engaging in a potato-fight! It was quite vivid as I was around 14-15 at the time of its broadcast. What struck me most, was how ITV then out of only three British channels, broadcast this in the afternoon slot - where you found quality drama only on this channel, (remember 'Crown Court' and 'General Hospital', anyone?). But sadly, this programme illustrates how bad UK ITV and others have become with endless repeats of cooking programmes and 'wimmin's' type of programming in this afternoon slot (as well as 'Diagnosis Murder' occasionally - no offence, but these are very crass compared to this kind of drama and it smacks of what is lost for eternity with cheap and nasty programmes - sad, but true!)
*** This review may contain spoilers ***
A classic film by any criterion by Sam Peckinpah, in his usual
blood-and-guts fashion. That fact aside, being quite strange, as it's
very much an anti-war film, told really from the perspective of a
rag-tag German Army platoon fighting its way back from the Russian
Front in 1943 (the turnaround for the German Army in WW2).
Rolf Steiner, (James Coburn), the respected stalwart NCO newly promoted from Corporal to Sergeant, falls foul of arrogant Prussian-Aristocrat officer, Captain Stransky (Maximilian Schell). Stransky, still a novice coming from peaceful, occupied France makes no secret of WHY he asked for a transfer to the Russian Front - 'to win the Iron Cross', he says, as arrogantly as he is... arrogant! He's immediately looked on with disdain by the ragged but experienced Colonel Brandt (James Mason) and Captain Kiesel (David Warner).
Stransky even discovers himself a nice lackey, in Lieutenant Trebig, holding the latter's homosexuality he has recently observed with his adjutant, over his head.
His opportunity to win the Iron Cross 'dishonestly' presents itself in a Russian attack at his headquarters - only he squirms down below in the subterranean mire, whereas Steiner, the platoon and an equally respected Lieutenant Miers take on the Russkies head-on.
Miers is killed fighting bravely, Steiner is injured and goes on leave, having it off with a nice bit of skirt (Senta Berger as Eva, his nurse) and then there's the evaluation of the attack - Stransky puts his name down somewhere for the Iron Cross and put upon Trebig is called as his witness, surprise, surprise, never mind he's boasted about winning it in the first few words he uttered to the upper echelons. Steiner returns, and swears blind to the inquiry into 'who lead the attack, Stransky or Miers' that the latter lead the fighting and Stransky was nowhere to be seen. Steiner is needed as a second witness for Stransky, the latter even asks Steiner for this! Colonel Brandt again leans on Trebig to tell the truth but he can't even wobble slightly with Stransky threatening to reveal his homosexuality.
The platoon acquires a new Gestapo soldier, he's warned by Steiner he's not a popular man in spying on them - and that he'll get a bayonet up his ass if he even sneezes the wrong way. The platoon is sent out and encounters severe fighting that is vicious as the Russian Front was. Even a scrape with some Russian women leaves a couple of them killed, the green and innocent new private Dietz gets his as does the Gestapo man - in a not very nice way, it has to be said. But they still have to manage to get back to their lines. Stransky is beside himself in not being nominated for his Iron Cross as he feels he can't go back to his upper-class family in disgrace without one.
In the meantime,Steiner's platoon is as cut off somewhere and are struggling to get back to own their own lines. An order from Brandt is put out, to all units to break off and get back. Stransky deliberately sees to it that Steiner's platoon don't get the message but in any case, Steiner and Co. manage to get back to their own lines, using the approved code on the radio, to take his men in. Of course, Stransky gets wind of all this first and decides it could be a fake - that's his explanation anyway! He orders his men to open fire on Steiner and his platoon even when they wave their hands and blurt out the password/code wildly. Only three of the original platoon make it back including Steiner, who sees Trebig in the trench. (Trebig by now even states to himself 'my passage home' - some attempt to show he isn't totally lead by Stransky). Trebig wails that it wasn't his doing and it's Stransky all along. Steiner just lets rip on Trebig with his machine gun in typical Peckinpah fashion, letting him know his little fable cuts no ice.
Steiner catches up with Stransky, telling him Trebig is dead, Stransky retorts that Trebig wasn't under his command for a long time - then the two go head-to-head in some sort of duel into the Russian Melee as a challenge. This near-last scene has Brandt leading a charge and Steiner and Stransky going off to fight. Stransky hasn't a clue how to reload his machine gun and Steiner just laughs his head off in the ending scene, showing an explosion by a railway carriage as we are lead to believe the two of them have been killed.
An interestingly-filmed British-German production, with Peckinpah's blood and guts approach and set-pieces giving him rein to exploit it to its maximum potential. It must be said, the film was a hit in the then West Germany. But you can see why. It shows it mainly from their perspective. A product of anti-war feeling from Germans, on the Russian Front is this debatable? They even take in a young Russian boy-soldier as some sort of 'chum' after Stransky previously ordered him to be shot, as was the norm in Russia at the hands of the German Nazi ideology. As also, they meet some Russian women and some humanity is shown from the platoon, with scant reference to rape, scorned upon by Steiner - this is not mostly truthful to German soldiers of the period. I'm not saying they couldn't show any humanity, but it looks as if it's promoted and wasn't typical of the war on the Russian Front. Steiner as an anti-war but courageous soldier at odds with a king-s**t officer Stransky is well-played and the latter's deceit for his own ends perhaps warranted him getting killed more violently. The action is well-handled and typical as I have said of Peckinpah, but this remains one of the best and memorable war films we all grew up with before Saving Private Ryan.
*** This review may contain spoilers ***
As JohnRouseMelliotChard says, this film is deserving of more or better
exposure, although of course, the Sunday afternoon slot would merit it,
but in today's PC and wishy-washy liberal idiom, it wouldn't get the
chance. Although 'internet grooming' by today's social media has become
a worry, or a worrying 'norm', this film shows that with even less
technology in those days (1962), an accomplished pervert was still able
to do the same! A young sixteen-year-old, Jean, played by Christina
Gregg is standing by a 'phone box, waiting for the bus that takes her
to her babysitting job in the pub, run by Ron, (Conrad Philips). The
'phone rings, no-one seems around to answer it, Jean decides to pick it
up. A man with, it has to be said, a sexy, captivating and smooth voice
'coaxes' Jean into talking, somewhat on her part anyway, naively.
Before long, when jumping onto her bus, Jean's in a little headspin about the guy on the 'phone. So much so, she arranges to 'meet' him on the 'phone the following day. Add to this, talking to her sweet, yet precocious 14 year-old sister, Ann (Janina Faye), despite exercising caution, the latter's adding flame to the fire, probably unintentionally, but asking so many questions about the mystery man, clearly that Jean has been captivated by, even though it's just his voice. 'The man' (we don't have a name), carries on with this 'grooming' (for it's what he IS doing!).
On one occasion, she doesn't make the bus as she's kept late at work, she herself becoming very agitated by this - 'the man' plays on this when questioning her about her lateness for their 'phone-liaison, puts down the 'phone on her which leads to Jean become even more agitated - 'upping' his game on her. Soon as he can though, on the next 'rendevous' on the 'phone, he suggests they meet. All Jean can do is see no real harm and they make the date 'at the 'phone box'. Ann in the meantime is banned by the erstwhile pipe-smoking and laid back Dad-of-daughters from going 'to the local dance'. Jean has been banned from going out too to her pub job on the same night. The two of them make an excuse to 'Dad' of going to the pictures - a subterfuge to get them out of the house and do what they were going to do - EXCEPT that Ann decides to follow Jean on her 'date at the 'phone box' after finally warning Jean this may be a huge mistake. Even the friendly and funny Dandy Nichols as the bus conductor, Molly, informs Jean she's mad doing this and a warning about a local girl found strangled, 'Are you crazy, he might be anything', says Molly. 'Of course not,' replies Jean, 'not with a voice like THAT, you can always tell', she goes on, obliviously. (Talk about insane!).
Jean, eventually has second thoughts about this night of the date, runs off to the pub where she works - and - 'the man' appears at the very same place, asking Ron for directions! But then, Jean overhears and finally sees 'the voice/the man' ! Now knowing, that although she's out of danger in her new-found apprehension, she sees 'the man' ringing what of course must be the 'phone box. Watching and hearing him on the 'phone, she knows now another girl must be at the 'phone box as he is having the conversation in 'her name' (she gave the false name of 'Samantha' to 'the man'). Guess who it is - her sister, Ann, whilst looking for the now-disappeared Jean! The latter now knows she has to warn whoever it is. Jean confides in Ron she was going to meet this mystery man, Ron can't get his head around it as if Jean's mad, stating he had a conversation with 'the man' and he was meeting a friend. She rings the box, realising it's Ann, warns her, but, 'the man' is there - Ann says: 'I'm NOT Samantha!' 'He' replies: 'You ARE to ME!' I know I've put in 'Spoilers' but I'll let you see it!!!
This was a neat thriller, with equally neat touches. Dandy Nichols as Molly, saying what we all would to Jean but injecting some humour at times and of course, the one who steals the show a little is Ann, not only with Jean, but annoying her dad with her anti-hunting lectures and telling him what she thinks of him and the establishment in her no-nonsense way. It had a good script and I wouldn't say it was nailbiting until the end predictably, but it flows well and the script and acting, plus Jean's undoubtedly stupidity and naiveity - perhaps 'of the time' and that's part of the point, however common 'grooming' is now, make it well worth a watch.
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