Neither the Sea nor the Sand - 1972 film review

When I was growing up, Gordon Honeycombe was a very familiar presence on the TV screens. I remember him reading the news for a number of years before he began to branch out into presenting. He also wrote a popular novel, Neither the Sea nor the Sand, which enjoyed a lot of success and was filmed with, it seems, rather less success. I've not read the book but I've now come across the film, which was for many years something of a rarity.

The opening scenes made a great impression on me, since I recognised that Anna (Susan Hampshire, a very bankable actress in those days) was walking out towards Corbiere lighthouse on the south west tip of Jersey. Back in the 70s, I had a great post-Finals holiday in Jersey with my mate Stephen and we stayed at a hotel which looked out towards that same lighthouse. A memorable view.

Anna meets a handsome chap called Hugh (played, rather woodenly I'm afraid, by Michael Petrovitch) and falls in love with him. She's escaping from a bad marriage and they enjoy an idyllic time together on Jersey (where she meets his brother, played by the estimable Frank Finlay) and on holiday in Scotland, before tragedy strikes. Out of the blue, and for no obvious reason, Hugh drops down dead on the beach. At this point, things turn supernatural, because shortly afterwards Hugh returns to Anna from the dead.

This is a very slow-paced film, a slow-motion picture, you might say. The screenplay was written by Honeycombe himself, but it's uninspiring and doesn't make the most of a promising premise. The music is also pretty awful. But there are compensations in the performances of Hampshire and Finlay. Interesting, but ultimately insipid. I bet the book is more engaging. 

Twisted Nerve - film review

Twisted Nerve is a controversial film from 1968, a horror story about a psychopath in sub-Hitchcock vein. It combines a number of excellent ingredients with some questionable taste. It's almost always a mistake to judge films, or books, from the past by the standards of today, but even in 1968, I think there was something rather disturbing about this movie, not least in its rather dodgy (and, I think, unncessary to the plot) science about the nature of psychopathy and its relationship with disability. It's directed and co-written by Roy Boulting, but much, much darker than the Boulting Brothers' usual fare.

When I first saw this movie, as a student in the Seventies, I was startled to find that the lead character, played by Hywel Bennett, was an ex-Oxford man called Martin. To say that I didn't identify with him would be an under-statement. Not only was the young Hywel Bennett conspicuously handsome, he was playing a character who is seriously disturbed and very dangerous indeed.. A weird, baby-faced guy with an affluent but troubled family background, he becomes obsessed with a pretty young librarian (Hayley Mills) and concocts an elaborate scheme which involves him conning his way into the large house in which her mother (the superb Billie Whitelaw) takes paying guests, and contriving an alibi so as to stab his stepfather (Frank Finlay) to death.

The murder is investigated by a jaundiced cop played by Timothy West, while one of Martin's fellow lodgers is played by Barry Foster. By any standards, it's a terrific cast, and the Hitchcock connection is emphasised by the fact that Foster and Whitelaw appeared in the great man's late film, Frenzy - also about a sociopathic killer - as well by the haunting score, written by Hitchcock's favourite soundtrack composer, Bernard Herrmann.

Twisted Nerve is rather strange, not least because it is slow-moving with occasional bursts of lurid action. Yet it is undeniably chilling, in all sorts of ways. As for Hywel Bennett, his health problems have been well documented for a long time, but in his hey-day in the Sixties, he was not only very good-looking but also a very fine actor. It's sad that he wasn't able to maintain the brilliant standards of the first part of his career, but his best performances are genuinely striking..

Robbery

One of the best gangster films I’ve ever seen is Robbery (1967.) A recent re-watching reminded me of its quality and I’m amazed that the movie isn’t regularly ranked along with other classics of the 60s like Get Carter and The Italian Job.

The film was directed by Peter Yates, and the story goes that it so impressed Steve McQueen that it prompted him to get together with Yates the following year in Bullitt. The story of Robbery was clearly inspired by the Great Train Robbery four years earlier, but the details and characters are heavily fictionalised. The scriptwriters included George Markstein, best known for his work on ‘The Prisoner’, and Edward Boyd, who wrote the tv show ‘The View from Daniel Pike’, later turned into book form by Bill Knox.

The cast reads like a Who’s Who of sixties British acting talent. Stanley Baker plays Paul Clifton, the criminal mastermind. Baker was a superb actor, knighted by Harold Wilson shortly before his untimely death at the age of 48. His co-conspirators include Barry (‘Van Der Valk’) Foster, George (‘Special Branch’) Foster, Frank (‘Casanova’) Finlay, and Ken (‘Coronation Street’) Farrington. In an uncredited bit part one can spot the young Robert Powell. The cop on Clifton’s trail is James Booth, someone who seemed at the time to be destined for stardom; it seems that booze and bad career decisions prevented this charismatic actor from fulfilling his potential. Booth turned down the role of Alfie, just as Baker had earlier snubbed the chance to play James Bond….

The style of the film is akin to that of a documentary. The pace is brisk, and the mood unsentimental, and there is no lack of tension as the plot unfolds. There have been very few better heist movies in the history of British cinema.