Michael Marler, a successful business man in London, is about to make his way to the top. The death of his father brings him - after five years - back to his hometown Liverpool, where he is... See full summary »
Lilita De Barros
Gerald Otley, wannabe antiques dealer, is kicked out of his flat for failing to pay rent, sleeps at a friend's home for the night, wakes up two days later in an airport field, and finds himself entangled in international espionage.
A small time thief is recruited by a mobster to help with the racketeering. He doesn't like the job, but with the mob on his back, a femme fatale in his bed and a sick friend to care for, he will have to keep all his wits about him.
An Australian outback police detective is sent on a special assignment to the UK, to return an Australian citizen accused of murder. Only this is not an ordinary man, he is a UN high commissioner for peace talks taking place in London.
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
The film ends with a long take of Eddie sitting in his room with a hat on, smoking a cigarette and listening to a record. Writer Neville Smith wanted the record to be an authentic rock'n'roll classic, perhaps Elvis Presley's original recording of "Blue Suede Shoes", but the rights to this and other recordings of the period were prohibitively expensive and it was cheaper for Andrew Lloyd Webber and Tim Rice to write a new song instead. See more »
The attempts at Liverpool accents from Albert Finney and particularly from Frank Finlay are risible. See more »
[Eddie has gone to Botha Export Co Ltd for further investigations]
Got your coat?
Put it on.
Who are you?
Board of Trade.
Well, what do you want?
We have Powers Of Search.
You don't look like the Board Of Trade to me.
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 »
The opening Columbia logo does not have the Columbia name on it, just the lady with the torch. See more »
The cheap production standards of the 50s were an attempt to mass produce films the way you would would mass produce shoes. The 60s was an experimental era the same way the children of the 60s were experimenting with everything they could get their hands on.
By the 70s films had become more contemplative. The folks behind this little gem decided it was time somebody wrote a script that captured the very essence of the film noires from the 40s.
Notice I emphasized the script first, because the rest seems almost an afterthought. Make no mistake. Finney is brilliant as the protagonist comic who wants to be a shamus, a gumshoe, but without that magical script there would be no movie.
The script is brilliant. You could turn the picture off and simply listen to the soundtrack and not miss much. ITS THAT GOOD.
One scene in particular where Eddie has to seduce an office girl to get an address seems a riff off Bogey in BIG SLEEP. But with better and faster dialog.
The fact that even the IMDb tag for the film says "comedy" -- WHICH IT WAS NOT -- tells you how lost this gem is in the annals of film.
Whitelaw is great. Janice Rule steals her few scenes.
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