The October Man (1947)
A tightly constructed, well acted, moody, night drenched murder mystery. Very British, very good. Is it amazing? No, but it beats old t.v. hands down. I mean, it's a layered, nuanced, gradually evolving story with some real feeling to it. But it's also a packaged affair, neatly imagined and in the ends not a bit surprising. The romance, at least, is satisfying--the couple seems a good match.
Eric Ambler, who wrote and produced, was a high visibility popular author at the time, and you have to assume the movie feels as close to the writer's intentions as possible. Director Roy Ward Baker is only on his second film here, and it shows a natural talent for economy and drama. (He would later direct the Richard Widmark, Marilyn Monroe suspense noir, "Don't Bother to Knock" during a stay in Hollywood.) His most famous film might now be "A Night to Remember" because it was the most complete telling of the Titanic story leading up to Cameron's.
In a seemingly British way, the story here is neatly contained. Agatha Christy comes to mind when the main character enters the hotel where most of the action occurs, and we get to know the small number of residents there, each a distinct type. And when the murder (of course) happens, we are led to suspect this person or that. Or at least we are supposed to. The movie makes the perp all too obvious, even before the crime, so you have to depend on how well the story is told instead of being curious who done it.
And it's well told indeed. The supporting cast, including the love interest, is competent. The leading man, the falsely accused victim of an earlier bus crash, is rather excellent, played by veteran serious actor John Mills. And all the foggy night scenes, and train and train station sections, ought to make those of you nostalgic for old Britain very happy.
A tightly constructed, well acted, moody, night drenched murder mystery. Very British, very good. Is it amazing? No, but it beats old t.v. hands down. I mean, it's a layered, nuanced, gradually evolving story with some real feeling to it. But it's also a packaged affair, neatly imagined and in the ends not a bit surprising. The romance, at least, is satisfying--the couple seems a good match.
Eric Ambler, who wrote and produced, was a high visibility popular author at the time, and you have to assume the movie feels as close to the writer's intentions as possible. Director Roy Ward Baker is only on his second film here, and it shows a natural talent for economy and drama. (He would later direct the Richard Widmark, Marilyn Monroe suspense noir, "Don't Bother to Knock" during a stay in Hollywood.) His most famous film might now be "A Night to Remember" because it was the most complete telling of the Titanic story leading up to Cameron's.
In a seemingly British way, the story here is neatly contained. Agatha Christy comes to mind when the main character enters the hotel where most of the action occurs, and we get to know the small number of residents there, each a distinct type. And when the murder (of course) happens, we are led to suspect this person or that. Or at least we are supposed to. The movie makes the perp all too obvious, even before the crime, so you have to depend on how well the story is told instead of being curious who done it.
And it's well told indeed. The supporting cast, including the love interest, is competent. The leading man, the falsely accused victim of an earlier bus crash, is rather excellent, played by veteran serious actor John Mills. And all the foggy night scenes, and train and train station sections, ought to make those of you nostalgic for old Britain very happy.