Interesting "siege" film from the 50's where director Don Chaffey has clearly set out to stamp his own credentials on the production, even though he was obviously working to a limited budget.
Similar to most contemporary films, there are few opening credits, with just about every thing left to the end. The story runs in "real time" and crucially the choice has been made to dispense with any musical soundtrack. The use of everyday sounds and noises becomes an important feature in the narrative and certainly ramps up the suspense. The other interesting aspect of the siege is that there are no hostages taken. Rather it's all about getting the protagonist to peaceably leave his room in a block of units and go quietly with authorities.
Wilson's/Watson's motivations behind his actions are effectively and some what mysteriously drip-fed to the audience, though I feel it was a little unrealistic having his fiancée Helen Grey, "negotiate" with the police in giving them his true name. It's not like he's a career criminal and the whole exercise seemed quite pointless.
The movie also deals in an even-handed fashion, as to the best means of dealing with a domestic siege; a facet of police work still of great relevance 60 years later. Some characters argue giving reasons for a negotiated outcome, whilst we and others are given explicit onscreen evidence that it may be better to finalise the situation in a less restrained manner.
In a relatively short film it is inescapable that the story is weakened by being padded out, with us being continually shown the ongoing inter-relationships between the block's other residents. Though well-acted by the supporting cast, they don't have a huge bearing on the main narrative, until arguably near the end where another resident becomes instrumental in drawing the siege to its conclusion.
Potential viewers looking to watch something different in the way. of British "B" films, could do a lot worse than giving The Man Upstairs a friendly neighbourly glance.
Similar to most contemporary films, there are few opening credits, with just about every thing left to the end. The story runs in "real time" and crucially the choice has been made to dispense with any musical soundtrack. The use of everyday sounds and noises becomes an important feature in the narrative and certainly ramps up the suspense. The other interesting aspect of the siege is that there are no hostages taken. Rather it's all about getting the protagonist to peaceably leave his room in a block of units and go quietly with authorities.
Wilson's/Watson's motivations behind his actions are effectively and some what mysteriously drip-fed to the audience, though I feel it was a little unrealistic having his fiancée Helen Grey, "negotiate" with the police in giving them his true name. It's not like he's a career criminal and the whole exercise seemed quite pointless.
The movie also deals in an even-handed fashion, as to the best means of dealing with a domestic siege; a facet of police work still of great relevance 60 years later. Some characters argue giving reasons for a negotiated outcome, whilst we and others are given explicit onscreen evidence that it may be better to finalise the situation in a less restrained manner.
In a relatively short film it is inescapable that the story is weakened by being padded out, with us being continually shown the ongoing inter-relationships between the block's other residents. Though well-acted by the supporting cast, they don't have a huge bearing on the main narrative, until arguably near the end where another resident becomes instrumental in drawing the siege to its conclusion.
Potential viewers looking to watch something different in the way. of British "B" films, could do a lot worse than giving The Man Upstairs a friendly neighbourly glance.