gavin-83

Don't get me wrong, the music in this is very good and goes well with the action scenes. It does grate somewhat in that it incessantly repeats and plays through dramatic scenes.

My only other criticism of this American influenced noir-ish work is that some of the dialogue sounds phoney when spoken by a British actor. Funnily enough, Canadian actor Robert Beatty does a sort of "Irish" accent.

The film metaphorically and literally pulls few punches with another good performance from Terence Morgan as Augie, an ex-con with no intentions of going straight.

When I first saw the actress who was playing Mildred, the model who Augie falls for, Hazel Court, I thought she was more a homemaker than a sexy siren. As the film developed so she warmed to her role (or should I say Mildred did?) and was very good in the part. Unlike female characters at the time Mildred showed self-belief and the ability to take action.

An all round excellent representation of British film for me slightly weakened by the unending music.

I don't often write negative reviews but I have just watched this film and was surprised at its high rating.

On the positive side, Gordon Jackson pulled out a convincing portrayal of an erstwhile ex-con who had been in prison because of one foolish decision. A couple of other actors gave solid performances, some just read their lines and picked up the pay packet.

In the film, Sam Kydd plays a blackmailer and former inmate of Jackson, quite a hefty part for him, sadly here we get a clue as to why he rarely got a major role. He makes a good effort at the character but cannot decide on what personality he has veering between just some bloke needing the cash to occasionally something darker. At no point does he give one a sense of threat.

The film seems heavily edited (yet still drags) with characters appearing in places rather than entering them. One character (a friend of GJ) appears as a witness at the police station sitting confidently astride a chair "a la Christine Keeler" (thankfully clothed) assertively telling detective what he knows.

I found the denouement unbelievable with nothing backing it up, an ending that felt tagged on, a script that meandered and somehow reached its mooring, the port of call unsurprising for a film of this period.

This review is for the benefit of previous reviewer who asked a question and I do not know how to contact them directly.

@mgm-60 I looked on the British Film Institute website and saw that currently a copy of the film is held there and is available to view on site (London, England). Currently unaware of the film in further circulation.

Hope this helps anyone interested.

The story is told in a frankly popular way, bordering at times on extravagance and constructive licence, but all the time providing a full share of movement and excitement. The improbabilities of some situations are quickly forgotten in the constant succession of stirring incidents, and Carlyle Blackwell as Hebbirn, Miles Mander as the suave, debonair detective, and Frank Goldsmith as Sir William Easton do splendid work by convincing characterisation. Madeleine Carroll makes a charming Joan Easton, and a long cast, including Gordon Harker, contribute excellent teamwork in a production full of opportunities for incidental byplay and exciting clashes. Hardly any of the recognised ingredients for effective melodrama have been omitted, and patron will complain of not having received a full measure of thrills and excitement.

(BIOSCOPE, 26 March, 1930)

Above is a contemporary take on a film which is missing and may be gone.

...it is safe to assert that Monty Banks not only proves as funny as heretofore, but passes the "talkie" test with flying colours. Dialogue is not heard at first, but when introduced is quite satisfactory. Still, it is by action rather than speech that he delights his admirers, for whether to hide the unwelcome lady, confronting her jealous spouse, becoming a "compulsory husband", or struggling with his enemy amid Alpine snows, he disarms criticism and wins laughs. (BIOSCOPE, 5 March, 1930)

The above review is a contemporary take on a film which may now be lost.

This film is still missing, believed lost as far as I am aware. There are currently more than 20 votes for this which I think is being confused with Stanley Kubrick's Paths of Glory. Just putting this here for anyone else trying to find this.

"With high expectations I went along to the Academy Theatre on Monday to see "Borderline", a silent film produced by Kenneth MacPherson, editor of Close-Up, and starring Paul Robeson with his charming wife Eslanda. At the end I was dumbfounded. Mr MacPherson has apparently attempted to make a film story out of the amazingly suitable screen material provided by what is called "the negro question." No one could deny the possibilities of such a story. But Mr Macpherson buries his intentions in a conglomerate of weird shots and queer situations, worked out around a dissolute set of unsympathetic characters. He thinks too much of close-up and not enough of border-line. The result is a wholly unintelligible scramble of celluloidian eccentricity. The film is not, at the moment, being offered by any renter for public exhibition, though it is certified "A" by the B. B. F. C. I doubt if it will be. It is not for one moment entertaining, and only stimulates one's natural desire to see and hear Paul Robeson in a first-rate "British" talkie, made for the public. In a synopsis we are reminded among other biographical facts, that Kenneth Macpherson "is himself, you might say, border-line among the young cinema directors." Until he can do better than this for the box-office he is unlikely to be allowed over the border-line." (BIOSCOPE, 15 October, 1930)

Sound and dialogue added and re-released in 1930. Silent Version 1930.

Going to call new version "Valley of Death" but Gainsborough had a massive fire during sound production (1930) and went back to original name following death of a studio assistant a week after the fire.

"Brilliant record of the immortal charge of the Light Brigade, with dramatic story giving personal interest to the episode. A fine conception of a great subject shown with artistic and dramatic effect." (BIOSCOPE, April 16, 1930).

"I do not know the book, 'At the Villa Rose', so I have no idea how the unexpected ending of this mystery story affects the reader. I will admit though, that the close of the film version, which I saw trade-shown at the New Gallery the other morning, left me completely flabbergasted. It seemed to me that the producers were taking an unfair advantage in using Francis Lister's well-known heroic qualities to cloak the identity of the villain of the piece. The scene when that very likable young man is led off, presumably to the guillotine, struck me as being most unreal. This is, on the whole, an excellent film, however, and though there is so little movement in it, it holds the attention from first to last. The building up of the various clues which lead to the unravelling of the mystery is absorbing to watch.

"Whimsical fantasy, broad comedy, barbaric splendour of settings, and tasteful colour sequences, with excellent acting by well-known favourites, make an assured success of a story which has already established its claim to popular approval. A skilful blend of farce and fancy."

Season 1 was very good. Season 2 was pretty good and improved through the season. The third season should never have been made. It has lost all discipline and left the audience with no character to invest. I haven't read of anyone mentioning this yet, but my wife and myself found the sound (speech) dropping out and dominated by overly dramatic background music. Never noticed it as so intrusive in earlier seasons. Best advice I can give if you are new to this is just watch the first two. Season 1. 9/10 Season 2. 8/10 Season 3. 2/10

Watched on youtube today, and I found this a revelation. Jerry Verno is incredibly likeable as a young plumber who just happens by chance to also be a Lord (not something he is keen on). For the first two thirds of the movie Verno is almost ever present as a calm at the centre of a whirl of comedic intrigue. His performance is very natural and not over-played like many contemporaries.

Indeed Michael Powell pulls very good performances from much of the cast, most notably Muriel George and Ben Welden as a vigorous publicity agent. The music is enjoyable, the choreography on a shoestring eyecatching and the pace of the movie exhilirating.

Even an autogyro to look out for at the climax. But Jerry steals it for me...wish movies had made better use of him.

It seems that the illustration for this movie shows Errol Flynn from the later Adventures of Robin Hood Hollywood blockbuster. This film is, no doubt, an animation from the Halas and Bachelor stable and is a British film. Would people please note this as it means that any true reflection of the animation will be obscured. Thank you!

A mildly amusing story with a clear propaganda message for couples split by military duties during WW2. We initially see a married couple living a hum-drum life in London at the start of the war. Robert Donat is the husband, a meek accountant about to join the Navy; Deborah Kerr his wife who appears to live with a perpetual cold. Military service is about to turn both of their lives around (Ms Kerr becomes a Wren) and make each no longer want to continue the relationship until they realise that the other also has changed.

The story-line is quite lightweight but the script is well written and the acting generally very good. Robert Donat gives the impression that he would have been a wonderful star in silent film with his very expressive features and talent for mime. Despite this I was more impressed by the performance of Deborah Kerr who I felt gave her character more depth - notably seen at the beginning of the film with no make-up and no hairstyle,something many actresses of the time would have baulked at - as opposed to Donat's performance which appeared a little less nuanced.

In this movie we are left without a doubt that military service is what rescues this married couple and with the aid of a good supporting cast this is carried off well as propaganda. Technically the film is professional and unobtrusive with some nice location shots of wartime London. The music by Clifton Parker is comedic, romantic and whimsical which I am sure was exactly the intention of the film-maker.

A major weakness is the lack of humour which is more evident due to the very lightweight plot. I feel there perhaps should have been more misunderstandings and the opportunity for stronger emotions to be expressed.

In summing up, I think this is a very polished movie that with more "oomph" could have delivered a much better finished product.

Well, this image of the rural north with its Lordships, sheep-stealing and expensive health treatments is most certainly now a historical oddity. As with the other reviewer, I feel the sheepdog "Fleet" steals the show, as well as countless sheep. Percy Marmont is the best actor in the movie on two legs, the rest of the cast are rather wooden although Harry Welchman as Sir Ian is okay.

I watched the film feeling a certain sympathy for the "villain" (if there is such a thing), Burton who feels wronged when "Fleet" steals some of his sheep and takes them to the farm of Armstrong his owner, who owes him money cannot repay but fortunately has his lordship (an old friend and Justice of the Peace) in his corner.

One scene of the sheepdog in a raging torrent left me a little concerned.

Nice lake-land photography but general direction and script left a lot to be desired. Interesting to note that Mrs Armstrong goes for expensive surgery at around the time of the inception of our NHS, unlucky lady. Worth watching if you are interested in social history or British film warts and all.

Sitting through this movie was painful. The plot had more holes in it than my dad's string vest. The acting made trees on a still day look expressive. To think people spent money making this and others money watching it. Every stage in the movie is predictable. Script only could exist in movies "You are an electrical engineer, this was meant to be", well, of course it was, that is why the stupid characters were put in the screenplay. I give it a 1 for the Ferrari. One to avoid.

The Olssen brothers produced this and I will make sure I avoid them. oh, and kids...don't be bullies or you will get bad men coming to get you. AVOID AVOID AVOID....ACTUALLY A VOID

This is well worth some digital remaster, especially for sound. People have remarked on the character's immorality but the clue to her demise is corruption. "Men only wanted me for one thing, and I made them pay for it." From the start men expect her to do as they desire and she plays with that but their ardour is incredibly presumptious and often deceitful.

Myrna Loy is a wonderful Becky Sharp and "plays" Becky as she plays her suitors, with skill and a depth of worldly knowledge sadly lacking in the would-be lovers. So, is Becky in this version immoral, or a victim of a sexist hypocritical society.

Other characters are fairly flat, though I did enjoy Becky's maid, who thrilled at her acts and was voyeuristically attracted as perhaps we are too.

Try and see through the ageing of the medium and respond to a good story elevated by the charming, enticing Myrna Loy.

Very early Hitchcock which has many experimental touches. The repetition "what do you think of that, Sir John!" echoed knife in Blackmail, the words becoming distorted by there very impact the repitition hits you like a hammer. Some wonderful cameo roles on the jury. The carpet sinking under the feet... the usual fall from a great height, the symbolism of watching a film which shows a drama that is about a dramatic actress and stage cast. The whole thing is not eccentric but concentric...if I may steal a line from Senor Dali! To other poster, if its a bad print don't complain, at least it still exists! Would have been clear and sparkling on first release.