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No Orchids for Miss Blandish (1948)

Approved | | Crime, Drama | 15 April 1948 (UK)
John Blandish is worth $100 million. His heiress daughter is soon to be wed to Foster Harvey, who believes she's a cold, unfeeling woman, despite loving her. Her cold emotional state is in ... See full summary »

Director:

St. John Legh Clowes (as St. John L. Clowes)

Writers:

James Hadley Chase (book), St. John Legh Clowes (as St. John L. Clowes)
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Cast

Cast overview, first billed only:
Jack La Rue ... Slim Grisson
Hugh McDermott ... Dave Fenner
Linden Travers ... Miss Blandish
Walter Crisham ... Eddie Schultz
MacDonald Parke MacDonald Parke ... Doc (as Macdonald Parke)
Danny Green ... Flyn
Lilli Molnar Lilli Molnar ... Ma Grisson (as Lilly Molnar)
Charles Goldner Charles Goldner ... Louis--Headwaiter
Zoe Gail Zoe Gail ... Margo (as Zoë Gail)
Leslie Bradley ... Ted Bailey
Richard Neilson Richard Neilson ... Riley (as Richard Nelson)
Michael Balfour Michael Balfour ... Barney
Frances Marsden Frances Marsden ... Anna Borg
Jack Lester Jack Lester ... Police Capt. Brennan
Bill O'Connor Bill O'Connor ... Johnny
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Storyline

John Blandish is worth $100 million. His heiress daughter is soon to be wed to Foster Harvey, who believes she's a cold, unfeeling woman, despite loving her. Her cold emotional state is in large part due to leading a restricted life. A low level thug named Johnny overhears their secret wedding night plans, and peddles the idea of robbing her of the $100,000 worth of diamond jewelry with which she will be adorned to two groups of his gangster acquaintances, who are in competition with each other. The robbery doesn't go quite according to plan, with Miss Blandish ultimately being kidnapped and held under the eye of Slim Grisson, the heir apparent as head of the violent Grisson gang, currently run by Ma Grisson. Kidnapping holds higher risk but possible greater reward as everyone figures they can get at least $1 million for her. Ma has no plans of letting her go, killing her after getting the money. But a surprise move by Slim, who has a secret past with Miss Blandish, turns the tables ... Written by Huggo

Plot Summary | Add Synopsis

Taglines:

SHOCKING as a book! SENSATIONAL as a motion picture!

Genres:

Crime | Drama

Certificate:

Approved | See all certifications »
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Details

Country:

UK

Language:

English | French

Release Date:

15 April 1948 (UK) See more »

Also Known As:

Black Dice See more »

Company Credits

Production Co:

Tudor-Alliance See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (RCA Sound System)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

Linden Travers played Miss Blandish on the London stage before repeating the part here. She regarded this as her favorite role. See more »

Quotes

Eddie Schultz: I never count my chickens till I've wrung their necks.
See more »

Connections

References How Green Was My Valley (1941) See more »

Soundtracks

Danse d'Extase
(uncredited)
Composed by George Melachrino
Danced to by Toy & Wing
See more »

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User Reviews

 
No brickbats for Miss Blandish
24 June 2011 | by FilmFlaneurSee all my reviews

"The most sickening exhibition of brutality, perversion, sex and sadism ever to be shown on a cinema screen." Thus did The Monthly Film Bulletin judge St John Clowe's film adaptation of No Orchids For Miss Blandish (aka: Black Dice) upon its appearance in 1948, reflecting the almost universal shock and disapproval of the British critical fraternity. Not until the equally vehement rejection of Peeping Tom, over a decade later, would a film face such an onslaught. Audiences, it must be said, found the movie to their liking despite, or because of, the opprobrium and where it was shown, takings were excellent.

Violent and (for it's time) sexually suggestive, lurid and melodramatic, nothing St John Clowe's movie contained pleased critics more happy with a realistic tradition of filmmaking, or middle-class literary adaptations for discriminating audiences. In retrospect the categorisation of No Orchids For Miss Blandish seems less problematical. Neither sophisticated literary screen transposition nor completely convincing gangster piece, laced with titillation, and with roots in trash culture, These days the movie is better seen as a landmark of British crime exploitation cinema.

At its heart lays a love story: that between Slim Grisson and Miss Blandish. It's a tragic tale too; not just because of the end which awaits the couple, but also in that Grisson is shown as being a fervent, secret admirer of the heiress from the very first scene (his distinctive double dice emblem on the card accompanying flowers) and so, ultimately, is just as much a victim of events as she. His tragedy is that he soon finds himself overseeing the kidnapping of the woman he loves, while Miss Blandish has the misfortune of falling for someone entirely unsuitable, socially or morally.

But without the sexual experience he brings she would, it seems, be condemned to eternal frigidity. It is no accident that, early on, her fiancé refers to the "ice in her veins" which needs 'melting'. Indeed one of the many things critics found unacceptable in the movie was the depiction of a woman's sexual awakening, particularly when tied to a liaison out of her class - something miles away from the usual Noel Coward-type drawing room infatuation. It's a scenario helped by some sensitive direction by St John Clowe, in a work characterised over all by some fluid camera-work.

Some have criticised the director for clumsiness, but I can't see it. To give a standout example: although we know Grisson is 'stuck' on the heiress, nothing is said between them, except for a barely perceptible nod at her by the hoodlum after their first shock meeting. At a crucial moment later St John Clowe has Grisson, clearly thinking of the woman, walk slowly up his nightclub stairs, a fairly long crane shot. His impassive face is briefly superimposed onto hers. Then in the love scene which follows she leaves him, wavers, and comes back after a tense delay - events mostly off-screen. We still do not see them together, merely (for the second time) some orchids, and his words of relief spoken over the held flower shot. For a film so explicit elsewhere, the restraint and sensitivity of direction here is striking.

As Slim Grisson, Jack La Rue is impressive; more so when one remembers that it is almost half an hour before he is first seen on screen at all. A performance over-indebted to George Raft maybe - his habitual dice throwing recalling the American star's famous coin-tossing trademark - but still touching as a love-lorn thug and whose regular lack of expression and stolid soulfulness says more than any amount of mugging could do. As Miss Blandish, Linden Travers has attracted good words, too.

Others in the cast, even allowing for the variable American accents, are admittedly less strong. Ma Grisson (Lilli Molnar), who starts out, Ma Barker-fashion, as the leader of the gang, is less menacing that one might have wished; 'Doc' the Sydney Greenstreet-type among the supporting cast is too much of a stereotype to be convincing. However, mention ought to be made of Walter Crisham's Eddie, Grisson's frightening henchman, a very intimidating and malevolent presence. While some aspects of No Orchids For Miss Blandish have been ridiculed, the budget was obviously quite a reasonable one; the nightclub fairly expansive and convincing for instance, allowing the director a chance for multiple set-ups.

Of course the club, Grisson, and his followers are a world away from Miss Blandish's previous social circle. In a way characteristic of British noir and thrillers, the film has a firm idea of class; not only in the separation of crooks and toffs, but upstairs and downstairs (the working class lovers overhearing the conversation of their betters from the basement, at the start), as well. Even the underworld has its social structure, one which the 'success' of the Grisson gang is contrasted to the smaller group doing the initial kidnapping. Only love, it seems, can cross these boundaries, but then such romance is fraught with risk. For Miss Blandish, her new relationship brings 'freedom', this from the "first man I've ever met" - a slight emphasis on 'man' when she speaks, implying the anaemia of the class she has just rejected.

To those who wish to discover what all the fuss was about, I can say that the film may be variable, but entertaining and memorable. It's certainly an important document of Britain's cinematic underbelly. No plaudits for Miss Blandish perhaps, but no outright dismissal here either.


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