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  • Warning: Spoilers
    When you hear the name Gerry Anderson most people will think of classic animated fantasy serials such as Thunderbirds and Captain Scarlet but in the 1970s he also directed live action dramas including Space 1999 and The Protectors. However this neat crime drama proves that he was already doing so as early as 1960 although it appears to be his only foray into this field at the time.

    The film stars Anthony Oliver as Police officer Don Ross who discovers a ruthless group of hijackers are using a transport café and petrol station as a base. He ends up investigating alone, taking bribes from gang leader Diamond (George Murcell) to make them think he is on their side and eventually works with them on a robbery to steal a load of nickel. It all ends with a shoot out at the gangs HQ with gang member Johnny turning out to be another undercover policeman who helps Ross put a stop to the gang's activities.

    The film boasts an impressive cast with Ferdy Mayne as gang boss Miles (one of a long line of creepy screen villains), George Murcell as gang leader Diamond, David Graham (and Gerry Anderson stalwart) as Johnny and ever-reliable Harry Towb and Victor Maddern as lorry drivers. Less impressive are Miriam Karlin as chain-smoking cafe owner Connie who can't seem to recall from scene-to-scene whose side her character is supposed to be on, and Arthur Rigby as the Police Sergeant whose eye-rolling antics and mugging to camera do not pass as acting in my book.

    There are one or two unintentionally comical moments, most notably the early scene where Ross witnesses Diamond and his henchmen roughing up Connie before bundling her into a car. Ross quickly runs up to help her, ending up clinging on to the side of the car while it accelerates along the road. This goes on for some time and, while dramatic, is rather badly done in long shot with the uniformed figure rather obviously being a cheap dummy adhered to the car door. Also the score by Barry Gray, whilst very nicely done, falls some way short of being apt for a serious crime drama and is perhaps more suitable for a kids animation show.

    The opening titles reveal this to be part of the long running Merton Park Edgar Wallace Mystery Theatre series. However while produced by Anglo-Amalgamated it was not made at Merton Park but at Anderson's APF studios in Maidenhead. It was not based on a book by Edgar Wallace but from an original story. It was seemingly later added to the Edgar Wallace roster. Interestingly Barry Gray has written a nice, gentler arrangement of Michael Carr's classic Edgar Wallace opening title theme, with woodwind, strings and accordion replacing the usual guitar. Curiously the bust of Edgar Wallace looks a bit like Mr Anderson!

    The film was made on location in Slough and Maidenhead (and partly at the Halliford Studios in Shepperton). Connie's cafe is actually The Barton Cafe which was located opposite Anderson's APF Studios in Maidenhead.
  • When I hear that evocative theme music and the bust of Edgar Wallace I can imagine myself back in the circle of the AND Golders Green at around 430 on a Sunday afternoon.This film is one of dozens of B films made at Merton Park.The film gets off to an exciting start with a policeman hanging on for dear life to a Ford Zephyr travelling at around 40 miles per hour.After that it is all rather downbeat hill with a pedestrian plot and a rather laboured climax.Anthony Oliver plays the policeman who for some reason decides to try and get the gang on his own.Given a desperate release by Network by virtue of the director Gerry Anderson who went on to greater success with puppets.
  • Warning: Spoilers
    Reading a great issue of UK film magazine Infinity,I was surprised to learn that before his "Supermarionation" works, Gerry Anderson had made his debut with an Edgar Wallace adaptation. Having also read Red-Barracuda very good review for Thunderbirds Are GO (1966) recently, this felt like the perfect time to see Anderson's career take off.

    View on the film:

    Driving from the crossroads, Network present an excellent transfer, with the print having hardly any spots of dirt and the soundtrack being clean, all backed by compact, detailed extras.

    Revealing in the making of that the two week production schedule was a nightmare, with him requesting the B-Unit team to get more involved with filming, as they tried to work with a sixteen thousand pound budget, director Gerry Anderson & his future regular cinematographer John Read display glimpses of style in gliding panning shots through high contrast Film Noir lighting, but suffer from an atmosphere of a cramped movie, where little breathing room space is given.

    Despite Anderson revealing that he and his future wife Sylvia, (who did continuity on the movie) could not stop laughing at the clunky dialogue,the screenplay by Alun Falconer adapts Edgar Wallace's story into a lean Brit Noir with a focus on the cheerfully off-beat baddies,as police officer Don Ross sniffs out a gang of lorry hijackers working from a cafe, which leads to Ross to stir for answers from the waitress at the greasy spoon, as the wonderful Surf Punk Jazz score from Anderson's future regular composer Barry Gray, leaves Ross at a crossroads.
  • Like most people, I had always assumed that 'Doppelgänger' (1969) constituted Gerry Anderson's sole attempt to break into live action features; but with 'Four Feather Falls' already behind him he not only produced but directed this very early Merton Park Edgar Wallace quickie (complete with regular composer Barry Gray on the soundtrack)!

    Standouts in the cast include a clean-shaven George Murcell as the chief heavy and a typically sardonic Miriam Karlin as a cafe proprietress.

    Alun Falconer's script gets a bit talky during the middle section, but as usual with 'B' movies of this era it makes excellent use of locations and has a nice unexpected twist at the end...
  • It could have been a Danzigers Prod or even Butchers'Company, the most prolific movie productions in terms of crime B films in UK, during fifties and sixties. Most in black and white, very short, but unfortunately not always interesting, only seldom. This one makes no exception, the tale of an undercover beat cop in a predictable and boring story. But if you crave for this genre, no matter quality, but only atmosphere, OK, that's probably for you.