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The Good Die Young (1954)

Approved | | Crime, Drama, Thriller | 1 November 1954 (Sweden)
In London, three otherwise law-abiding good men and their unscrupulous leader are about to commit a serious crime but for different reasons.

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(screenplay), (screenplay) | 1 more credit »
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Cast

Cast overview, first billed only:
... Rave
... Denise
... Joe
... Mary
... Eddie
Rene Ray ... Angela
... Mike
... Eve
... Sir Francis Ravenscourt
... Mrs. Freeman
... Dave, Angela's Brother
... Doris, Girl in the Pub
... Tod Maslin
... Pretty Girl
Leslie Dwyer ... Stookey
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Storyline

Three good men - a broken boxer, an American veteran trying to win back his mother-dominated wife, and an air force sergeant married to a faithless actress - are corrupted by Miles Ravenscourt, an amoral "gentleman." Because they need money, they let Miles lure them into his scheme to rob a postal van with a large cash cargo. Written by Mike Rogers <MICHAELPEM@aol.com>

Plot Summary | Add Synopsis

Taglines:

Two deadly weapons. Burning lips! ... Hot lead! ...

Genres:

Crime | Drama | Thriller

Certificate:

Approved | See all certifications »
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Details

Country:

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Release Date:

1 November 1954 (Sweden)  »

Also Known As:

Los buenos mueren jóvenes  »

Company Credits

Production Co:

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Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Several of the main cast lived out the dying young part of the title by passing away before either age 50 or 60. Laurence Harvey and Margaret Leighton were married a few years later in 1957. She was made a CBE, won two Tony Awards, and died in 1976 at age 53. Harvey died in 1973 at age 45. The couple had divorced in 1961. Of the remaining cast, Stanley Baker died in 1976 at age 48, Susan Shaw in 1978 at age 49, Gloria Grahame in 1981 at age 57, and James Kenney in 1987 at age 56. As of early 2018, only Joan Collins is still alive at age 84, tied with Robert Morley who passed away in 1992. See more »

Goofs

[All goofs for this title are spoilers.] See more »

Quotes

Mike Morgan: What did I do it for? Money. The money we were saving together, the money I was going to buy that shop with. And look what I got for my trouble - stone deaf in one ear, half blind and only one hand. What sort of a man does that make me?
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Soundtracks

Piano Blues
(uncredited)
Music by Lambert Williamson
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User Reviews

He did die young
18 August 2011 | by See all my reviews

What a sizzling lead performance in this superb British noir film by Larry Harvey! And what a terrible irony in the title, since Larry died at the age of only 45 in 1973. I remember him so well on the day walking in Hampstead with his little daughter Domino that he told me he was dying of stomach cancer. I asked him if he were certain, if there were not something 'they could do', but he merely looked at me with his ironical smile, a resigned one, and said no, he was dying. His nonchalance did not desert him. He shrugged it off sadly but with his ingrained insouciance. His reaction to his own imminent demise had no self-pity in it, but was full of pathos, as he regretted that he would not be able to watch Domino grow up. Alas, she too has now gone. He also worried about what would happen to Paulene, who is still as glamorous as she was then. But how sadly some meet their ends. Gloria Grahame, who also sizzles in this film, only lived to 58, and Stanley Baker only made it to 48. So yes, the good die young. But Joan Collins, ostensibly only 21 at the time (but already in her ninth feature film role!), is still with us and currently working on her 119th film! This film, brilliantly directed by Lewis Gilbert (and I noted that Jack Clayton, himself later to be such a brilliant director, is credited here as Associate Producer), is a terrific psychological study of how a group of desperate men can come together to commit a crime which they would otherwise never commit. Their individual stories are all fully sketched by a cast of wonderful pros. The four men are Richard Baseheart, John Ireland, and Stanley Baker, led by the mischievous, amoral, and as it turns out, probably psychotic, Larry Harvey, as the character known as 'Rave'. The devilish, pathological scheming of 'Rave' is brilliantly shown, and in the scenes towards the end of the film, Larry is positively terrifying. Robert Morley has a brief look-in which he slightly overdoes, but then he always had a propensity to overact, especially with the excessive widening of his eyes at crucial moments. Gloria Grahame does a wonderful job of playing a lascivious, 'gorgeous pouting', totally amoral movie starlet married to the long-suffering John Ireland. Ireland doesn't know whether he wants to kiss or to strangle her, as she is so exasperating but also so irresistible. And it was not only Ireland who found her so, but a large part of the Western world. Gloria Grahame certainly had 'that something', and more besides. The most polished performance in the film is probably that by Margaret Leighton, who later married Larry in 1957 (they divorced four years later). In the film she anticipates later true events by playing Larry's older wife. She is so insouciant and acts with such effortless ease that it is like watching olive oil coat the lens. In between Margaret Leighton's arched eyebrows there lurked a great deal of intelligence, a fine sense of humour, and an appreciation of irony. The stories behind the individual characters in this film are harrowing, and Joan Collins as an emotional prisoner of her harridan mother is particularly typical of the time. In those days, girls really did feel unable to leave their mothers and were easily emotionally blackmailed by them, whereas today the young are so indifferent to lasting attachments that a parent is merely another avatar in a video game, to be tossed aside when convenient. The central character remains the spoilt, narcissistic, pleasure-loving and wholly irresponsible 'Rave', who suffers from that condition known to psychologists as 'infantile omnipotence', and who reacts to the word 'No!' with a violent tantrum. The botched burglary and its aftermath is painful to watch, but I dare not say whether any of the vexed situations which drove the participants into it are resolved, for that would give away too much. Certainly, this is one of the finer British efforts in this genre during the 1950s.


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