Released July 18, 1947 (U.K.); 48 minutes; B & W; 4300 feet; a Hammer-Marylebone Production; an Exclusive Release (U.K.); filmed at Marylebone Studios; Director: Tommy Tomlinson; Producer: Henry Halstead; Production Supervisor: Anthony Hinds; adapted from the novel by Christianna Brand; Director of Photography: Stanley Clinton; Sound: Charles Hasher, Dick Farge; Makeup: Harry Davo; U.K. Certificate: A.
Don Stannard (Detective Charlesworth), Elsa Tee (Victoria David), Veronica Rose (Agnes Gregory), Denise Anthony (Aileen), Patricia Laffan (Magda Doon), Diana Wong (Miss Almond Blossom), Nora Gordon (Miss Arris), Bill Hodge (Mr. Cecil), Ken Warrington (Frank Bevan), Leslie Spurling (Sergeant Bedd).
Magda (Patricia Laffan) and Agnes (Veronica Rose) are rivals for a French posting in Frank Bevan’s (Ken Warrington) dress business. When Aileen (Denise Anthony) uses acetic acid to clean a dirty hat, some crystals fall on the floor. Miss Arris (Nora Gordon) cleans them up, placing the residue on a table as requested by Agnes. At lunch, she and Magda have an argument with Agnes over the new position. Magda takes a plate intended for Agnes and, after eating, falls to the floor. Most of the staff have alibis—as well as motives—to kill Agnes.
Miss Almond (Diane Wong) confesses to Agnes that she put a few poison crystals in the food to make her sick so she could take the new position in France. However, Magda ate the food and, inexplicably, died. Almond attempts suicide, but is saved by Detective Charlesworth (Don Stannard). He determines that Magda’s body contained more poison than was originally purchased. He reveals Agnes as the murderess. When confronted, she attempts suicide, but is restrained and taken away.
This short film, barely qualifying as a feature, was only recently revealed as a Hammer production, thanks to research by Richelle Wilder, Director of Development. It’s another “lost film”—just a post-war “quota quickie”—made and forgotten quickly, and not listed in any major film guides.
Death in High Heels was included, along with ten other pictures, in a January 1, 1947, trade ad for release in 1947. It began production on January 3 as part of a deal between Exclusive and Henry Halstead, head of Marylebone. The Cinema (January 8) estimated that the movie would be ready for a March trade show. Anthony Hinds had just been released from active Royal Air Force service and quickly joined the company. This was his first assignment as production supervisor. The production took longer than initially planned, ending on February 5 and trade shown on May 28 at the Hammer Theatre, co-featured with Paddy’s Milestone, a Hammer short. Release was set for July 28.
A small picture like this is usually not widely reviewed, and those that follow couldn’t be more polarized. Today’s Cinema (May 30, 1947): “The conventional murder mystery in its crudest and most unattractive form, as tedious as it is uninspired. Most of the acting is decidedly amateurish”; and The Kinematograph Weekly (June 5): “Ingenious story, exciting denouement, hardy crime featurette.”
Considering the film’s unavailability, take your pick.
River Patrol
Release date unknown (1948 U.K.); 46 minutes; B & W; 4164 feet; a Hammer-Knightsbridge Production; an Exclusive Release (U.K.); filmed at Marylebone Studios; Director: Ben Hart; Producer: Hal Wilson; Screenplay: no credit; Director of Photography: Brooks-Carrington; Editor: J. Corbett; Music: Paxtons; Sound: Leevers Rich; U.K. Certificate: U.
John Blythe (Robby), Lorna Dean (Jean), Wally Patch (Chief), and Stan Paskin, Wilton West, George Crowther, Fred Collins, Johnny Doherty, Douglas Leigh, Tony Merrett, George Lane, Dolly Gwynne, Audrey Hibbs, George Kane.
The River Patrol and the Water Guard are important but rarely publicized services that protect the London docks. One night, during a smuggling raid, Robby’s (John Blythe) partner is shot, and Robby is assigned by the Chief (Wally Patch) to a new case—the smuggling of 20,000 pairs of nylon stockings. He recruits Jean (Lorna Dean) from the women’s section to pose as his wife. The couple then trace the contraband to an East End club called “Sure.” Robby chats up the bartender and arranges an illegal whiskey delivery, and Jean is offered a waitress position. She learns that the stockings leave the club hidden in laundry baskets, but their identities are discovered, and they are abducted. Hidden in the club warehouse, Robby and Jean await death but are rescued by the Patrol.
The end of World War II in 1945 returned society to many things, including (among the lesser in importance) full time film production. After years of deprivation, Britons were hungry for entertainment and, with no real television industry, for most it meant going to the movies. Quality was no more a prerequisite than it is today for television viewers—entertainment was entertainment. The film industry was dominated by Hollywood, and the U.K. was its top foreign market. Due to the negative effect on the British industry, a 75 percent import tax was placed on American films. To protect Britain against a Hollywood takeover, Parliament had created a quota act in 1927, calling for 30 percent of all films shown in the U.K. to be of British origin. Although it encouraged production, the quota also sanctioned mediocrity. Richard Gordon, long time producer/distributor, shared his memories with the authors (June, 1993):
“River Patrol was a small film even for a quota quickie, and its 46 minute running time barely qualified it as a feature. It was shot mostly on location in London, with exteriors filmed at Marylebone.” It was trade shown on January 28, 1948, at the Hammer Theatres which was, according to Richard Gordon, “built as a screening room in the basement of Hammer House. It was really state of the art—one of London’s largest, seating about 150. Hammer would often rent it out to other companies for cast screenings or for receptions.” As for the trade show, the release was “not fixed,” and the authors could find no release date, but it was certainly in theatres by spring. The Kinematograph Weekly (February 5) was one of the few to review River Patrol, calling it a “thumbnail crime melodrama; uneven direction, faulty timing, and cramped staging give its rough-stuff a somewhat phoney ring.”
As of this writing, River Patrol (and others to be covered later) is a “lost film,” and why not? It was nothing special when it was released and was quickly forgotten. It was films like this that caused audiences to shout, “Take it off—it’s British!”
Released October 1, 1948 (U.K.); 72 minutes; B & W; 6668 feet; a Marylebone-Exclusive Production; an Exclusive Release (U.K.); Director: Alfred Goulding; Producer: Henry Halstead; Director of Photography: Stanley Clinton; Camera: Reg Selley; Sound: Charles Hasher, Dick Farge; Makeup: Harry Davo; Art Direction: Jimmy Marchont; Assistant Director: Eric Veendam; U.K. Certificate: U.
Charles Stuart (Sidney Robertson), Joyce Linden (Anne), with Mackenzie Ward, Patrick Hicks, Roddy Hughes, Anthony Holles, Rory McDermott, Joanna Carter, Peter Reynolds, Veronica Rose, Maxine Taylor, Michael Ripper, Sefton Yates, Cyril Chamberlain, Gale Douglas, Sydney Bromley, Gerald Ping, Hay Petrie.
American crime writer Nick Allen is hired to expose the life of petty crook Sidney Robertson (Charles Stuart) who recently came to a bad end. Allen learns that Robertson’s problems began when he was a teenager. Having little parental control, he fell in with the wrong people and, after robbing a house, was sent to prison. Released early for good behavior, Robertson found work as Mr. Ashcroft’s chauffeur, but he soon weakened and stole from his employer. After being caught for stealing cars, Robertson was arrested and sent to prison for seven years, but soon escaped. He meets Anne (Joyce Linden), an old girlfriend, and they team up to steal jewelry. A policewoman acting as a decoy draws their interest, and Anne is captured. Robertson escapes but, during a rooftop chase, falls to his death.
The Dark Road was the second Exclusive-Marylebone coproduction, the result of a multi-picture pact negotiated by Enrique Carreras, Will Hammer, and Henry Halstead in 1946. Filming began on February 17, 1947, with a story based on the life of Stanley Thurston, a former jewel thief. In fact, Thurston starred in the picture, and changed his name to Charles Stuart prior to the film’s release. Location work was done in Blackpool, Manchester, Dartmoor, Parkhurst, and Lewes Prison. The production ended on April 9, 1947, and a trade show was held on July 28, 1948. The Dark Road was released on October 1 to tepid reviews. The Kinematograph Weekly (August 5): “Its object is apparently to prove that honesty is the best policy, but amateurish acting, uneven direction, and a dishevelled spirit prevent it from underlining the message’’; and Today’s Cinema (July 30): “Offers little that has not been seen before.” Jewel thief turned actor Thurston, according to the reviewers, should have stayed with his original calling. Most of the remaining cast members were seldom heard from again, with the major exception of Michael Ripper who began an association with the company that would span its history.
Released April, 1948 (U.K.); 70 minutes; B & W; 6242 feet; a Marylebone-Hammer Production; an Exclusive Release (U.K.); filmed at Marylebone Studios; Director: Alfred Goulding; Producer: Henry Halstead; Screenplay: Alan Stranks, Alfred Goulding, based on the BBC radio series; Director of Photography: Stanley Clinton; Art Director: James Marchant; Editor: Eta Simpson; Assistant Director: Eric Veendam; Music: John Bath; Sound: Charles Hasher; Continuity: Doreen Saunders; Casting Director: Edgar Blatt; Casting Manager: Mary Harris: USA TV Title: Dick Barton, Detective; U.K. Certificate: U.
Don Stannard (Dick Barton), George Ford (Snowey), Jack Shaw (Jack), Gillian Maude (Jean), Beatrice Kane (Mrs. Horrock), Ivor Danvers (Snub), Geoffrey Wincott (Dr. Caspar), Arthur Bush (Schuler), Alec Ross (Tony), Farnham Baxter (Roscoe), Morris Sweden (Regan), Ernest Borrow (Gilpin).
On special assignment to investigate smuggling, Dick Barton (Don Stannard) heads for Echo Bay with his goofy friends Snowey (George Ford) and Jack (Jack Shaw). Meanwhile, Dr. Caspar (Geoffrey Wincott) enters a fish factory on the bay, awaiting the arrival of “Johansen” and a mysterious package. He (Arthur Bush) informs Caspar that their “cover” is the study of beetles, but their real goal is unspoken.
Their first move is Dick’s assassination which fails when Snub (Ivor Danvers) misses an easy shot as Dick drives past on his way to meet Jean (Gillian Maude). A delivery boy, stunned at seeing his hero, mistakenly gives Dick the package meant for Dr. Caspar, which contains stolen jewelry. After another failed attempt to kill Dick with a poisoned dart, the villains kidnap Snowey and Jack. While searching for his friends, Dick is trapped underground just as they are released by the delivery boy.
Chained to a wall, Dick reveals to Dr. Caspar that he knows that they are escaped Nazis. The doctor has a revelation of his own—to destroy Britain with plague bacillus in the water supply. Dick frees himself and alerts Sir George of the Home Office to secure the bay. With Jack’s help, Dick frees Jean, who has been taken prisoner, saving both the day and Britain.
This is a terrific movie that was years ahead of its time. One of the few things close to it for the modern viewer is the 1960s’ Batman TV series, and one can’t help wondering if its creator ever caught a glimpse of Dick. It’s only fitting that Hammer’s first post-war hit was based on a radio series, since one of the company’s best ideas was to base their films on pre-sold characters with a built-in audience. Most of Britain in 1948 tuned in to Barton following the evening news.
The Kinematograph Weekly (December 18, 1947): “Exclusive has progressed to such an extent that James Carreras claims it is the leading small producer-distributor company in the country.” Although the company had actually made three post-war movies, Exclusive held the Screen Guild distribution franchise, and was holding twelve American films for release. The fourth production, Dick Barton, was expected to put the company on top. The second Barton picture was already in production, with two more scheduled for June and October, 1948 starts. Each feature was also planned to be released as a four episode serial.
Marylebone Studio’s Henry Halstead told Kinematograph Weekly (October 2, 1947), “that small companies need not necessarily produce ‘quota quickies,’ but should make small, moderately produced pictures that are high in quality and box office appeal.” He felt that two things were necessary: story selection and advance planning, and that Dick Barton couldn’t be topped as a property due to its tremendous popularity on radio. Also making Barton a good idea for filming was the camp atmosphere with dialogue delivered in an intense, over-the-top manner, or tossed away as an aside. A great throw away visual has a boy reading a Dick Barton comic book. When Dick is to be shot on a deserted road, all we see is a rifle barrel and moving bushes with inane comments coming from behind the shrubs. Although this may not read as being especially hilarious, they are funny! Although comedy usually dates rapidly, the film is still funny almost fifty years later, and that’s an achievement.
Released February, 1948; 48 minutes; B & W; 4500 feet; an Exclusive Films Production and Release (U.K.); Directors: Lionel Tomlinson, Gordon Kyle; Producers: Gordon Kyle, James Carreras; Screenplay: Peter Cresswell.
Raymond Lovell (John Smith/Johann Schmidt), Kay Bannerman (Anna), Robert Wyndham (Detective Inspector Oxley).
During a visit to diamond merchant Jeert Van Loon, Anna (Kay Bannerman) suffers a blackout—a legacy of her abusement in a Nazi concentration camp. When she regains consciousness, Van Loon, her father’s ex-partner, is dead. Terrified, she turns to her only contact in Britain, Johann Schmidt (Raymond Lovell), a friend of her late father’s. He suggests that she confess, but plead that she lost control during her “spell.” She nearly believes in her own guilt, but Inspector Oxley (Robert Wyndham) is called into the case. Oxley discovers that Schmidt killed Van Loon for his collection of uncut diamonds that originally belonged to Anna’s father. He finds the man—alive—in an attic above Schmidt’s office. Thought to have died in a Nazi camp, he was kept prisoner due to Schmidt’s belief that he was the only man capable of cutting the diamonds. When Oxley moves to arrest Schmidt, the killer dies in a fall, and Anna is reunited with her father.
Who Killed Van Loon?, at 48 minutes, barely qualified as a feature and received very little publicity. Apparently, it was filmed entirely on location with houses used in lieu of studio sets. A trade show was held on January 29, 1948, at the Hammer Theatre, 113 Wardour Street. Exclusive was the first British film company to have private trade screening facilities. The theatre was described in Today’s Cinema (July 5, 1946) as fulfilling a “long felt need in the Street which has lacked a theatre of really generous proportions that can be hired for both trade and press shows and which, at the same time, meets the most exacting technical demands. Distributors, particularly those interested in the export market, will find Jimmy Carreras’ project a valuable answer to their needs. The whole impression is one of quality.”
The authors were unable to find a release date for the film, but it was reviewed on February 4, 1948. The Kinematograph Weekly called Who Killed Van Loon? “a little phoney,” but felt it contained, “breathless and bloodcurdling action.” Today’s Cinema (February 4) said, “The mystery element is well enough sustained, and it is all very competently portrayed.” Who Killed Van Loon? is one of many “lost” Hammer productions and will, unfortunately, remain a mystery for the modern viewer.