The Brighton Strangler - 1945 film review

Brighton has been the setting for a number of excellent crime stories. Graham Greene's Brighton Rock and Patrick Hamilton's The West Pier are notable examples. In recent years, for instance, we've had books set in the resort by Peter James and Peter Guttridge, among others. There's something about the place that seems to spark the imagination of writers. And then there's a rather obscure wartime film called The Brighton Strangler, which I stumbled across on Youtube.

The film is a curiosity. I think it's reasonable to describe it as a film noir, but oddly, it's not a British film noir. It was made in the United States by RKO and directed by Max Nosseck, who had fled to the States from Germany. He had some input into the script, written by Hugh Gray and Arnold Phillips, while the stars of the movie were John Loder and June Duprez. No stellar names there, to be honest.

This is a short film which seems to have made little impact on its original release, but in recent years it has enjoyed something of a revival. One of its merits is that its brevity (67 minutes) mean that the story moves at a fast pace. And there's quite a lot going on. The cleverest part of the whole script comes at the beginning, when a melodramatic murder is committed - and then we realise that it's the climax of a play in the theatre. However, the play is running during the Blitz, and when the theatre is bombed, the lead actor (Loder) suffers a head injury. Affected by amnesia, he becomes a killer, following the pattern of the character in the play...

The scriptwriters were no Graham Greenes and it's not too difficult to find fault with the film. The fact it was shot in America does mean that we don't get any meaningful sense of Brighton at all. I wasn't impressed with Loder's acting, I'm afraid, whereas June Duprez makes the best of an under-written role and Miles Mander is good as the lead detective. But when a film is as short as this, and packed with incident, it probably makes for better entertainment than one of those interminable six or eight or ten part TV serials where the plot material is padded out for purely commercial reasons. And there's room in the world for intriguing curiosities.

Nightsleeper - BBC TV review

Nightsleeper is a BBC TV thriller that has a lot going for it. Unfortunately, it's one of those six-part stories that really should have been two or three parts long. There's a lot of padding and in the end this significantly diminishes the impact of the story. A pity, but it's characteristic of an age when television economics dictate that storylines need to be stretched out long enough to justify the investment in a costly production. 

The story is about the mysterious cyber-hijacking of the Heart of Britain, a high-speed train heading from Glasgow to London. It's hurtling along the railway tracks of the country towards imminent destruction. Where are those leaves on the line and the wrong kind of snow when you need them? The dramatic events on board the train are counter-pointed with innumerable scenes in cybersecurity HQ, where Alexander Roach is leading the attempts to save the passengers, while being generally obstructed by colleagues and superiors, partly because of her determination to involve her chum Pev (David Threlfall, at his maverick best), who is something of a black sheep in the cybercommunity. Suffice to say that the scenes on the train are much more gripping.

The passengers on the train are, naturally, a varied assortment, ranging from a stereotyped right-wing bigot to a small boy who has been separated from his mother, and a host of individuals may not be all they seem. For good measure, the Minister of Transport is on board, and no opportunity is lost in the script to mock her hopelessness.

Joe Cole is the disgraced cop who tries to save the train and strikes up an unlikely rapport with Alexandra Roach in the course of innumerable telephone calls. There are some thrilling moments, but this is really a two-scene storyline that never needed six hours to unfold. A shame, because there are plenty of signs that it could have been so much better.

Forgotten Book - The Ellerby Case

The Ellerby Case was the third novel by John Rhode to feature Dr Priestley. The book was published in 1927 and it showed Rhode's ability as a crime writer, even though he was still finding his way. For instance, this novel is narrated by Priestley's secretary Harold Merefield, a narrative device Rhode had used in the previous book but then abandoned (just as Rhode abandoned Priestley's daughter April, whose romance with Harold was a feature of the great man's first case). At one point, the detective's initials are given as 'J.P.', which is odd, given that we'd been told previously (and would be told again subsequently) that Priestley's first name was Lancelot. But that's the trouble with writing a series. It's so easy to forget what one has said about one's characters. Believe me, I know!

In this novel, Priestley celebrates his 58th birthday and is a little more human and less cantankerous and irritating than in some of his appearances. He is also pretty active, though his interventions come at a cost. When the villain realises Priestley is on his trail, he tries to dispose of him. There's one good scene involving the tidal bore on the River Trent (and the bore, or eagre, does exist), and another incident involves a hedgehog with poisonous green spines (which is rather less authentic, to say the very least). Michael Delving's Bored to Death (1975) incidentally, also involves a dangerous tidal bore, this time on the Severn. I don't think any other writer has used killer hedgehogs in a plot.

The investigation begins when Priestley's old friend Sir Noel Ellerby returns to his Lincolnshire mansion to look into a burglary in which nothing seems to have been stolen. Ellerby dies of heart failure, seemingly a natural death, but Priestley is not satisfied, and of course he is right to be suspicious. Soon he is on the track of an ingenious criminal with a high level of practical expertise, especially in the field of chemistry.

The case involves an excise fraud concerning contraband saccharine, which seems rather unlikely to me, if not as unlikely as murder by hedgehog. The culprit is easily spotted, but this is a lively tale. Priestley had another 69 cases ahead of him after this early investigation, but in few of the books is he as active as he is here.

Nightmare - 1964 film

Nightmare is a low-budget Hammer movie from 1964 that didn't make a huge impact on its original release. In more recent times, however, a number of critics - including the insightful Sergio Angelini - have expressed appreciation for its twisty plot. So I decided to take a look. The screenwriter and producer was Jimmy Sangster, no stranger to melodrama, and the director was the accomplished camera man Freddie Francis. The title is far from original but at least it's better than the unspeakably bad working title: Here's the Knife, Dear: Now Use it.

The film begins with a young woman of seventeen wandering around a gloomy old building at night and finding herself tormented by another, older woman. This turns out to be a nightmare, and Janet, the young woman in question, proves to be deeply troubled by an incident from her past. She's played by Jennie Linden; the role was originally to be taken by Julie Christie, until she got the chance to appear in that terrific film Billy Liar instead, and wisely seized it. Jennie Linden is okay in the role, but she's no Julie Christie. Her performance is rather one-dimensional.

Accompanied by a sympathetic teacher (Brenda Bruce), Janet goes back home, where she's the responsibility of her guardian, Henry Baxter (David Knight), to whom she is devoted. Henry has arranged for her to be looked after by a companion, Grace (Moira Redmond) and the housekeeper and chauffeur (Irene Richmond and George A. Cooper, who for once plays a sympathetic character) are also supportive of her. But poor Janet continues to be tormented.

There are some jarring elements in the storyline (early on, for instance, we're told that everything in Janet's family life was wonderful - until the day her mother stabbed her father to death - which seems a little hard to believe) and David Knight is unimpressive in a key role. However, the events unfold at a brisk pace and this kept me interested. Not a lost classic by any means, but okay viewing. 

Misery - 1990 film review

I've not read many of Stephen King's novels, though I'm a fan of Danse Macabre, a book about the craft of horror fiction, a genre of which he's a master. I did, however, very much enjoy the film of his book Misery and on watching it again, I found it still hasn't lost its compelling power. Part of the appeal to me comes from the fact that it's a film about writing; there have been quite a few of them, but this is one of the very best, if not the very best. 

Books about the writing process are one thing, and I've no doubt that King's novel, which I still haven't read, is excellent, but writing is rather difficult to film, and it's quite an achievement on the part of Rob Reiner, the director, and his brilliant screenwriter William Goldman, to make the film so pacy and yet create a feeling of authenticity when the creative process is discussed.

James Caan is very good as Paul Sheldon, a capable writer who has made a fortune by writing romantic stories about a character called Misery Chastain. But he's become a prisoner of his success and he wants to write more serious stuff that is more deserving of critical respect. I've talked to commercially successful writers who have faced this dilemma and although many would envy their fame (and wealth) the sort of dilemma that King and Goldman portray is a real one. 

The stand-out performance comes from Kathy Bates, who was little-known when cast as Annie Wilkes, who proclaims herself as Sheldon's 'Number One Fan'. She captures the character's mood swings brilliantly and the result is a truly scary performance. There are excellent supporting roles for Frances Sternhagen and Richard Farnsworth, while Lauren Bacall plays Sheldon's agent. And I do like the fact tha Annie is a big fan of Liberace!

Forgotten Book - Kilo Forty

Miles Tripp's last book appeared as recently (in relative terms) as 1999 and he died the following year. In his day, he was a highly regarded writer, if not a stellar name. But I think it's fair to say that he really is a forgotten author. But I've always found his books interesting and well-written, even if sometimes they reveal a lack of interest in plot that is disconcerting.

Kilo Forty (1963), one of his earliest novels, is regarded in some quarters as his best. I first heard of it when it was included in the 'Curiosities and Singletons' section of the first edition of Julian Symons' Bloody Murder. He said: 'All of the books written by Miles Tripp...under his own name (he has written some commonplace thrillers as John Michael Brett) are about people whose nerve-ends are showing, but Kilo Forty...is outstanding amongst them, a psychological study of the emotional conflicts between four people on holiday by the Red Sea, which explodes into savage violence. There is a touch of Simenon, some similarity to Highsmith, but a sort of tortured veracity runs through the story that is conspicuously Tripp's own.'

Alas, in later editions of the book, Symons did not mention Tripp at all. Perhaps he was disappointed by the later novels; I don't know. At all events, this rather reflected the steady decline of Tripp's reputation as a cutting-edge crime writer. Symons' summary of the novel is spot on, but I wouldn't say that this is an outstanding book, nor even as good as some of the other Tripp books that I've read.

I felt there was a certain waywardness about the way the ingredients of the story were put together. The prose is taut, with no padding, and the unusual setting is well-evoked; Tripp wisely resists the temptation to indulge in a travelogue. But I didn't warm to the characters and the way they behaved towards each other wasn't as compelling as it should have been. So, a bit of a disappointment, given that I had high expectations. 

Spy Game - 2001 film review

Spy Game is a film that appears to have a lot going for it. First and foremost, the cast is stellar. Robert Redford, Brad Pitt, Stephen Dillane, and David Hemmings, for a start. I've been a huge fan of Redford ever since he played the Sundance Kid. Hemmings, sadly, died in 2003, just a couple of years after this film was released. He was a great loss. I remember watching him in Blow Up at a school film night, and although perhaps his career didn't result in quite the superstardom one might have expected, he was never less than watchable, whatever role he played. 

The film begins quite promisingly. After a dramatic action scene in China, Pitt's character, Tom Bishop, is arrested. We learn that he's going to be executed in 24 hours. Back in CIA HQ, Tom's old mentor, Nathan Muir (Redford) is on his last day at work prior to retirement. He's called in to deal with the situation, or so it seems. But why are his bosses so reluctant to take decisive action to rescue Bishop?

A race against time is on the cards. But then, something strange - at least to my mind - happens. The story gets bogged down in a sequence of extensive flashbacks, charting the progress of the relationship between Muir and Bishop. It's almost watching like a portmanteau movie, with some - it has to be said - not very exciting office scenes in between each action segment.

I'm afraid this method of storytelling didn't work for me in what was supposed to be an action movie. The stop-start approach might be perfectly suitable for some kinds of stories, but not this one. It became difficult for me to get interested in the characters or their fate. I've read some reviews (and to be fair, the reviews are on the whole relatively positive) that compare this film to Three Days of the Condor, but that is a genuinely exciting film and, to my mind, far superior to this one. Great cast, pity about the structure of the script. 

The Life of Crime Newsletter

A quick post to say that I've just published my second free monthly newsletter on Substack. If you haven't already subscribed and would like to do so, you'll be welcome.

You can subscribe here: https://substack.com/@martinedwardsbooks

The newsletter doesn't replace this blog (and will not do so) but amplifies it in various ways and offers fresh opportunities for me to connect with readers, which has brought me a great deal of pleasure over the years. And, of course, I very much welcome constructive feedback.

The Castaways - Channel 5 TV review

The Castaways is a five-part thriller serial from Paramount which has just aired on Channel 5. Unlike so many TV shows, it didn't outstay its welcome, and I enjoyed it, with relatively few reservations. The premise is that an aeroplane flying to Fiji disappears and crashes on an uninhabited island. But is it possible that this was more than a tragic accident? Celine Buckens, who plays Erin, the sister of Lori Holme (Sheridan Smith), who was on board the flight, wants answers. And we want to know why Erin wasn't on the flight, as planned...

Sheridan Smith and Celine Buckens make unlikely sisters, I have to say. Fortunately, their acting ability is considerable and their tense relationship was well drawn, and well portrayed. The script was written by Ben Harris and based on a novel by Lucy Clarke, which I haven't read. In some ways, it's the ultimate airport thriller - a lively book involving odd goings-on connected with a flight - but the pace is pretty relentless, and that helps the viewers to suspend their disbelief.

So too does the structure. We switch back and forth between the present day, with Erin - six months after losing her sister - desperate to find out whether Lori is still alive, and the events before and after the plane crashed. Surprise, surprise, Lori survived - but the mystery surrounding the crash is cleverly maintained. Alas, the final plot twist was not a great idea, in my opinion, but it didn't really matter. 

This is good, undemanding light entertainment. Yes, the story is implausible, but I was never bored, and that's a lot more than I can say for certain other TV serials. I've enjoyed Sheridan Smith's performances for years (she was a great Cilla Black!) but I was equally impressed by Celine Buckens, while of the supporting cast, Brendan Cowell is good as the dodgy pilot.  

The Lesson - 2023 film review

I started watching The Lesson when flying to the Nashville Bouchercon last year. Unfortunately, my screen went kaput half-way through the film, which was frustrating to say the least. Finally, I've caught up with the rest of the movie. Its immediate appeal is that it's about writing and writers, although in almost every such film I've ever seen, a key plot ingredient is plagiarism, and director Alice Troughton and writer Alex MacKeith fish in precisely the same waters. Yet even though it's not as unpredictable as it would like to be, this is an interesting movie.

The set-up is simple and the action of the film takes place in and around the country estate of a famed but reclusive writer called J.D. Sinclair (Richard E. Grant), who hasn't published anything for ages. He is married to a French artist, Helene (Julie Delpy). They have a son, Bertie, who is aiming to read English at Oxford. They hire Liam, a young Irishman with literary aspirations played by Daryl McCormack, as his tutor. 

Part of me thinks, I must admit, that if someone who has had a highly expensive education and many advantages (although not, as it turns out, a pleasant home life) still needs a tutor to scape into Oxford, perhaps the place should go to someone with fewer advantages and greater ability. But one does have to feel sympathy for a boy who has grown up surrounded by a narcissistic father, cold mother, and enigmatic butler, especially when one learns that his brother drowned in the lake in the estate.

Richard E. Grant is an interesting actor and although sometimes he takes roles that don't really seem to suit his particular gifts, that isn't the case here. His compelling performance is central to The Lesson, elevating the film from the mediocre to the definitely watchable. There's a certain lack of tension in the script, and I don't think Liam's character is as well-developed as it should have been. But visually it's good to look at from start to finish, and I'm glad I did actually get to see the end of the film, even if I did have to wait a while to do so.