User Reviews

Tony Tenser and Michael Klinger, who ran Compton-Cameo Films, famously gave several young directors their first opportunities. One of them was Gerry Levy, who came to them with a script he'd written under the name Peter Marcus. The story of four tearaway lads who break into a fairground novelties warehouse and terrorise the owner (Warren Mitchell) before getting their come-uppance has a horror comic feel to it, but not a great deal of suspense. The business of a posh boy (Christopher Robbie) joining the other lads in their drunken spree takes up a lot of time but seems of marginal relevance. (Levy's brother has confirmed to me that this material was added to increase the running time, thereby qualifying the film for the government's Eady fund). Nevertheless this is a very unusual independent British spook film of the period. A good deal of time and effort was spent on it and this includes a lot of night shooting in London's Soho, the renting of a studio for the interiors, and a title song written and performed by Ottilie Patterson. Because it has few exploitable elements it was shelved after it was made in 1963 and eventually released as a second feature in 1966. Levy went on to direct "The Body Stealers" for Tenser's Tigon company, but then became a production manager. "Mickey" disappeared until a tattered print, with at least 20 minutes missing, turned up at BFI Southbank in 1997. A very good copy of the complete version is currently on the Talking Pictures channel. Two other points of interest are that it was Patricia Quinn's first film (can anyone confirm that she's one of two young women who come out of Portland Mews and reject the advances of the boys?) and that it was originally classified "X" but is now "U". The original certificate must have been awarded solely because the BBFC was still obsessed in the 1960s with the alleged influence of films showing juvenile delinquency.

For a long time the 'holy grail' of 1960s' low-budget British genre movies that I longed to see appear as an official DVD or Blu-ray release was the Edward Judd sci-fi oddity Invasion (1966), but that was finally issued by StudioCanal in 2014. Since then, another film from the same period has taken its place on my 'must have' list - Gerry Levy's little-seen and much underrated debut b-movie Where Has Poor Mickey Gone? (1964); the full cut of this film has played a handful of times on Talking Pictures TV over the last year or two, though it still shows no signs of a DVD release on the associated Renown label.

The tale of four nominally 'juvenile' delinquent lads who break into a fairground supplies shop in pursuit of vicious kicks, only to receive a chilling comeuppance at the hands of Warren Mitchell's troubled magician, it mainly resembles a prototype episode of Tales of the Unexpected (complete with a creepy twist ending not unlike something from novelist Roald Dahl's The Witches). Despite some obvious padding included to bring it up to the usual one-hour second feature running time and thus qualify the film for the Eady Levy, it remains a compact little 'short story' that benefits from a genuine sense of mystery and from Mitchell's committed (if not always totally convincing) lead performance.

The quartet of youths are three ne'er-do-well Cockneys and a 'posh nosh' hanger-on, who bully courting couples and pick fights with nightclub bouncers before deciding to give Mitchell's 'The Great Dinelli' a lot of trouble for no reason other than their own boredom and mean-spiritedness. Though Mitchell initially appears cringingly terrified of the boys, he's actually the guardian to some seriously powerful supernatural forces, and it is of unleashing them that he is actually most wary. In this way, the film almost invites the audience to enjoy the eventual fate of the 'boys', which isn't really difficult given that they are well-characterised as genuine assholes, despite being very 'weak beer' by modern standards (remember the days when ASBO kids wore ties and jumpers? Eden Lake this ain't), and the perhaps slightly lacking casting. John Malcolm, who plays the titular gang leader Mickey, was around twenty-seven when the film was made but with his dopey trilby and chronically receding hairline he looks nearer forty (Malcolm continually calling Mitchell 'Pop' seems silly because the two men appear to be the same age - Mitchell was in his late thirties and despite playing a feeble codger, he doesn't really look any older than that). Other members of the gang will be familiar to Tom Baker-era Doctor Who fans; Christopher Robbie was the Cyberleader in Revenge of the Cybermen, whilst John Challis more notably played the nasty Scorby in The Seeds of Doom, although he's obviously much better known as Boycie from Only Fools and Horses.

Levy had a lengthy career in the movies, eventually working as a production manager on 1980s' A-pictures like Out of Africa and Cry Freedom. His only other movie as a director, however, was the Tigon stinkbomb The Body Stealers (1969), a film as lame-brained, unpersuasive and un-scary as Where Has Poor Mickey Gone? is quietly compelling and eerie. Another plus is Ottilie Patterson belting out a great little title track, but unfortunately, Where Has Poor Mickey Gone? didn't see immediate release following its completion and apparently only went out as support to Polanski's Cul-De-Sac in 1966, before vanishing from circulation for over thirty years. Now that it is back doing the rounds, if it turns up I'd advise that you try to catch it.

WHERE HAS POOR MICKEY GONE? is an obscure little potboiler, obviously made on a very tight budget and set in just one location for the most part. It's notable for featuring a couple of TV favourites in the years before they came to fame, plus managing the tricky task of juggling both the thriller and horror genres. The story is about a group of juvenile delinquents - shades of THE BOYS - who go around town committing crime everywhere they go. They end up in a magician's shop, where they tie the magician to a chair before brutalising and tormenting him. However, there's a twist in store.

if I'm honest, WHERE HAS POOR MICKEY GONE? feels a bit dragged out at feature length. The plot reminded me a little of the Curd Jurgens segment from the Amicus anthology VAULT OF HORROR. It's very tame - U certificate, in fact - by modern standards, and quite slow and talky. Occasionally there are missteps, such as a screeching bit on the soundtrack that seems to go on forever. However, appearances from an on-form Warren Mitchell (TILL DEATH US DO PART) and a youthful John Challis (Boycie in ONLY FOOLS AND HORSES) make it watchable, and the twist ending still sends a few chills down the spine even today.

Three young hoodlums and a hanger on commence their evening's recreation by being forcibly ejected from a jazz club, regaling the two burly, built like a brick bog-house bouncers with a torrent of abuse and threats, as they depart, smashing the club sign for good measure, before scarpering into the darkness.

They're not looking for trouble; they know exactly where to find it! Next up, a brutal, unprovoked attack upon a courting couple, leaves the man lying unconscious and the girl deeply traumatized.

A quick visit to the local chippy, followed by a further bout of taunting teenage girls and the night's work seems to be winding down.....until, peering into a dimly lit, low brow warehouse, they discover an Aladdin's cave of fairground attractions and novelties, presided over by slight, balding, middle-aged proprietor Warren Mitchell, checking the day's takings, prior to heading home.

With a suddenly rejuvenated, kid in a sweet shop mentality, they are instantly using and abusing both props and equipment, destroying Mitchell's livelihood and potentially, one fears, his life. He has, however, a single outside chance to outwit his assailants.....and that's magic!

With the action taking place entirely by night, pretty much in real time and with a constant sense of threat and menace, 'Mickey' evokes an inherently noirish tone. Throw in a title song performed by Ottilie Patterson, with support from Chris Barber and Sonny Boy Williamson and you have an intriguing period piece. A long lost movie, a significant find.

Four young men are thrown out of a night club. They get rowdy on the street, injuring a man, then make their way to a side-street shop where an old Italian man (Warren Mitchell) makes props and games for fun fairs. They bust one of them, then discover his stage magician trappings, and insist on a show.

It's a Twilight Zone sort of short second feature, timing in at less than an hour, and a good one at that, as the dominance shifts from the hooligans to Mitchell, and the camera, wielded by Alan Pudney, scans in an increasingly uneasy fashion over the increasingly foreboding premises. Writer-producer-director Gerry Levy spent most of his film career as a production manager, and wrote a few scripts for horror movies. He died in 1996, aged 68.

Four young men-Mick (John Malcolm), Ginge (Ray Armstrong), Tim (John Challis) and Kip (Christopher Robbie)- are thrown out of a Jazz club for rowdy behaviour; after vandalising the club sign and attacking a courting couple, they break into the workshop of magician Emilio (Warren Mitchell), who has just popped out for a bottle of plonk. When Emilio returns, the lads terrorise the old man, eventually forcing him to put on a magic show for them, a performance that will cost them dearly.

As others have noted, Mick and his gang of ruffians behave very much like the Droogs from A Clockwork Orange, anti-social behaviour and delinquency very much a hot topic in the early '60s; the film also feels a lot like a story from an old EC comic, where the antagonists receive a macabre comeuppance at the end. As a half hour episode of a TV series like The Twilight Zone, or as part of an Amicus-style anthology, Where Has Poor Mickey Gone? Would have worked very well, but even at the short 'feature length' running time of just under an hour, it feels very drawn out with a lot of unnecessary padding. That's not to say that I didn't have a good time with the film, just that I think that the story would have been better served by a shorter format.

6/10. Worth a watch to catch a pre-Alf Garnett performance by Mitchell, an early turn by Challis (best known as Boycie from Only Fools and Horses), the bluesy theme song sung by Ottilie Patterson, and the final twist. Oh, and Patricia Quinn of Rocky Horror fame is in there somewhere as well.

Where Has Poor Mickey Gone? Was made at a time of rapid change in Britain. The old, post Victorian world was fading under the assault from the 'demob' generation, now free to build their lives and apply what they had learned from overseas postings and contact with US culture. This is exemplified by Ottilie Patterson, who wrote and performed the powerful title and credits song. She was born in Norther Ireland to an Irish father and a Latvian mother, who had met in Georgia during the war.

Watching this film on Talking Pictures, I was struck by the visual, as well as textural, resemblance to A Clockwork Orange. In particular, Mick himself, with his signature hat and pointy nose, looks so much like Alex, and acts so much like him I can't believe it is a coincidence. The book had been published two years before Where Has Poor Mickey Gone? Came out, so it is quite possible that it was inspired by, if not based on, Bradbury's novel. Stanley Kubrick's film was a decade in the future, but the parallels are such that there must have been an influence. I never rely on "must have", but it would be worth pursuing for a film academic.

Where has poor Mickey gone? That is the question, apart from the first on screen appearance from John Challis and a wonderful performance from Warren Mitchell there's very little to write about in this film. Oh yes there is, Otillie Paterson singing the theme song about " poor Mickey" her performance is unique in that I've never ever seen this performer on screen before, picture Kathy Kirby singing a jazz blues number and you'll get the idea. As for the film, it's a somewhat dated curio and well worth watch, sadly it will be forgotten just like the whereabouts of poor Mickey. Actually Mickey is Mick whose the leader of the gang of hoodlums, but Mickey sounds better than Mick I guess. Ps This is the sort of play that Pemberton and Shearsmith do with Inside#9 only better. PPS Thanks to the wonderful Talking Pictures for showing this, even the duds are worth a viewing.

This 'X' certificate short was originally shown at UK cinemas with Roman Polanski's 'Cul-de-Sac'. It's unavailable commercially but I've now had the chance to see it at last, having obtained a copy on video for private viewing. It tells a neat, effective story which holds the attention, with Warren Mitchell giving a memorable performance, and a very young John Challis (now well-known as a television and stage performer in the UK) as one of the thugs who terrorise him. The pay-off is really clever and satisfying. It's a pity this film has never turned up on television and is virtually a 'lost' movie. It's well-worth seeing.

This is a mild shocker from 1964 that did a disappearing act of its own, but can now be seen on DVD. In itself it is mediocre, with Warren Mitchell playing a sort of magician with unsavoury powers. He is forced into using them by a group of thugs well into their twenties and behaving like that dreaded BBFC bugbear ' juvenile delinquents '. The actors are not really suited to their roles, and Warren Mitchell gives a poor, over the top performance which some consider strangely good. While the BBFC were still banning the really excellent ' The Wild One ' this pale forerunner of ' A Clockwork Orange ' was given an ' X ' certificate. It is useful to watch to see how much the British were afraid of anyone under thirty and that it was the duty of the conservative mindset to be protected from their supposed threat. The answer of course was to make them simply disappear!! Perhaps this film was made with that in mind, and I like to think it was. If so it is timidly subversive and well worth analysing.

Four drunks stumble upon a magic shop with a difference .... starts a little slow , but gradually the story unfolds and there is a twist at the end. Well worth watching , if only to see Warren Mitchell deliver another convincing role. John Malcolm reminded me of a young Harry H Corbett , in fact I was convinced it was him and had to wait for the end of the film to check the credits.