Noirvember: They Made Me A Fugitive (1947)

Considering how well it depicts post-war England, and also how well it makes use of Trevor Howard in the main role, you may be surprised to find out that They Made Me A Fugitive was directed by a Brazilian, Alberto Cavalcanti. Fans of classic British film may be less surprised though, considering the fact that Cavalcanti also helmed a number of films for the mighty Ealing Studios at this time.

Howard plays Clem, a thieving criminal who has a major pang of conscience when the ruthless Narcy (Griffith Jones) starts dealing in the drug trade. Clem doesn't want any part of the drug business, and plans to quit after one last job. That last job doesn't go to plan, which leads to Clem being framed for the murder of a policeman. He ends up sentenced to fifteen years in prison. An escape is inevitable, considering the title of the movie, and Clem is soon seeking revenge against those who framed him for a murder he didn't commit. 

Based on the novel "A Convict Has Escaped" by Jackson Budd, They Made Me A Fugitive was turned into a screenplay by Noel Langley, who does a great job of mixing together a large cast of characters into a frothing pot of dark soup that is destined to be spilled all over by the time the finale comes around. While everything is tame compared to more modern content, there are moments of nastiness and grit that keep you feeling as if nothing is guaranteed. Main characters may or may not survive to the end credits, pain will be the main currency for everyone involved (be it physical or emotional), and as for a happy ending . . . this is a noir, after all, so even that isn't a given.

Howard may not seem like the best fit for the lead role, but he grows into his performance with each minute of screentime, and has that essential spark of charm that keeps viewers onside. Jones is deliciously dastardly and irredeemable as Narcy (short for Narcissus, which basically tells you all you need to know about him). Jack McNaughton does well as another crook, Soapy, and Ballard Berkeley is entertaining as Rockliffe, an officer heading up the manhunt for Clem. It's not all about the men though, and Sally Gray, Rene Ray, Mary Merrall, and Vida Hope all get time to shine as they play their part in the unfolding drama, with Gray cutting a particularly sad and vulnerable figure as things turn even darker in the third act.

It may lack some of the style and edge of similar films being made in the USA at this time, but that is what helps to make They Made Me A Fugitive so memorable. It's very British, but the Britishness is placed around some serious unpleasantness and violence that wasn't usually part of the fabric of UK cinema at this time. It was there, and you can certainly find some other classics from this time that make good use of it, but it was very rare.

8/10

If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing.
It also costs nothing to like/subscribe to the YouTube channel attached to the podcast I am part of - https://www.youtube.com/channel/UCErkxBO0xds5qd_rhjFgDmA
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews
Or Amazon is nice at this time of year - https://www.amazon.co.uk/hz/wishlist/ls/Y1ZUCB13HLJD?ref_=wl_share

Shudder Saturday: Dead Of Night (1945)

This review originally featured at Flickfeast.

Although there were a number of anthology movies before it, Dead Of Night often feels like the first. That’s partly due to the fact that it came along some time before the likes of Amicus made such an impact with the format, and partly due to the fact that a few aspects of the movie (particularly the framing device and a couple of the main tales) have proven to be so influential over the years.

With four different directors involved, and numerous writers (John Baines and Angus MacPhail get most of the credit for the actual screenplay, but E. F. Benson and H. G. Wells are responsible for some of the source material), the consistency throughout is astonishing, both for the time and also for the format. The only weak spot in the film, a tale of two rival golfers, is itself not a bad little segment to enjoy. It’s just not as good as the others.

Anyway, let’s start at the beginning. Mervyn Johns plays Walter Craig, an architect who starts to get serious deja vu when he pulls up outside the Foley home. Meeting everyone inside, including a Dr. Van Straaten (Frederick Valk), he soon tells them of his feeling. While he tries to explain his unease, and also offer up one or two predictions, the people around him decide to share their own peculiar tales. Anthony Baird is a racing driver who survives a bad crash, only to then have visions of a hearse driver telling him “room for one more inside”. Sally Ann Howes is a young girl who has a spooky encounter during a game of Sardines. Googie Withers is a housewife who accidentally buys a strange mirror for her husband, one that reflects a dark moment from the past as opposed to his usual surroundings. Basil Radford and Naunton Wayne are those aforementioned golfers. And the good doctor himself has a tale to share, one of a ventriloquist (Michael Redgrave) who seems to be terrified of his own dummy. Meanwhile, Mr Craig seems to be spot on with his predictions.

An undeniable classic of the genre, this may suffer slightly from how dated it is, and how everything plays out in the company of some wonderfully unflappable Brits (stiff upper lips, and all), but it’s an absolute must-see for fans of the horror genre, and fans of anthology movies. The atmosphere throughout, although punctuated by many lighter moments, is one of growing unease, and even dread. Viewers become just as agitated as the central character, curious as to how things will pan out and what explanation there might be for the whole set of circumstances. The structuring is also excellent, with the best saved for last in a one-two punch of the ventriloquist tale and the final act of the framing story, and certain scenes remain powerful, nightmarish, stuff. Age may have worn away some of its effectiveness, but this is still a thoroughly deserving, and rewarding, horror classic.

8/10

Get yourself a shiny version of the film here.

Americans can get the same disc, but here (if multiregion-capable).