Released October 2, 1950 (U.K.); 68 minutes; B & W; a Hammer Film Production; an Exclusive Films Release; 6100 feet; filmed at Marylebone Studios, England; Director: Godfrey Grayson; Producer: Henry Halstead; Screenplay: Ambrose Grayson, based on the BBC Radio Series; Director of Photography: Stanley Clinton; Editor: Max Brenner; Music: Frank Spencer, Rupert Grayson; Art Director: James Marchant; Camera Operator: Stanley Clinton; Assistant Director: Eric Veendam; Makeup: Teddy Edwardes; Continuity: Prudence Sykes. Working title: Dick Barton and the Ray of Death. U.K. Rating: U.
Don Stannard (Dick Barton), Tamara Desni (Anna), George Ford (Snowey), Meinhart Maur (Serge Volkoff), Joyce Linden (Mary Mitchell), Percy Walsh (Professor Mitchell), Campbell Singer (Inspector Cavendish), Richard George (Inspector Slade), John Arnatt (Jackson), with Beatrice Kane, George Crawford, Paddy Ryan, Ted Butterfield, Patrick Macnee, Fred Owen, Yoshihide Yanai.
Hammer’s first of many sequels.
Special Agent Dick Barton (Don Stannard) learns of agent Phillips and about a case involving Prof. Mitchell (Percy Walsh) before the phone line goes dead. Phillips was killed by foreign agent Volkoff (Meinhart Maur), who plans to kidnap Mitchell and his daughter Mary (Joyce Linden). Inspector Slade (Richard George) tells Barton that Mitchell has developed a ray gun and that the weapon must not fall into the wrong hands. Barton and his partner Snowey White (George Ford) find that the abduction has taken place and follow the trail to a lighthouse where Volkoff plans to test the weapon against British aircraft. Baron and Snowey break into the lighthouse and a fight ensues, during which Barton hurls Volkoff to his death from the tower. Mitchell and Mary are released and the police round up Volkoff’s henchmen.
Hammer’s follow-up to the highly successful Dick Barton, Special Agent began production on March 4, 1948, at Marylebone Studios. Marylebone was one of the smallest of England’s twenty-four studios, consisting of two sound stages and twenty-three employees. Location work began on May 13, at Chichester, Eastbourne, and Beach Head lighthouse. During a sales conference held on June 18 and 19, James Carreras announced that, due to the success of the first Barton—with over 1,400 bookings, two more films featuring the “special agent” would be produced. An agreement was signed with Robert Lippert’s Screen Guild making Exclusive that company’s sole U.K. distributor.
Dick Barton at Bay was trade shown at the Rialto on September 2, 1950, two and one-half years after its production began. The company was concerned about flooding its own market, but seemed to have overdone the wait. The picture was released on October 2 to positive reviews that echoed those of the original, as in The Kinematograph Weekly (September 28): “There are admittedly more laughs than thrills, but most patrons will accept the whole thing in the spirit of fun.” What separates Dick Barton at Bay from its predecessor is its combination of science fiction and “Red Menace” threat. However, the apocalytic plot elements were still handled irreverently, since children were the target audience. Adults were invited, too.
The Jack of Diamonds
Released February 7, 1949 (U.K.); 73 minutes; B & W; 6622 feet; an Exclusive-V.S. Co-Production; an Exclusive Release (U.K.); filmed on location in France; Director: Vernon Sewell; Producers: Vernon Sewell, Walter d’Eyncourt; Director of Photography: Moray Grant; U.K. Certificate: U.
Nigel Patrick (Alan Butler), Cyril Raymond (Roger Keen), Joan Carol (Joan Keen), Dolly Bowmeester (Gisell), John Basings (Parsons), Darcy Conyers (Colin Campbell), Vernon Sewell (Engineer), Edwin Richfield (George Paxton), Guy Romano (Douanier).
A film recently recognized as a Hammer, 1948’s The Jack of Diamonds.
Once wealthy Roger (Cyril Raymond) and Joan Keen (Joan Carol) are forced to hire out their luxury yacht. They are contacted by smooth-talking Alan Butler (Nigel Patrick), who persuades them to join him on a treasure hunt off the French coast. Seeing a chance to recoup their wealth, the Keens agree. They are joined by Giselle (Dolly Bowmeester), who confides to Roger that she is heir to the fortune and that Alan is a thief. After finding the loot, Butler sets the others adrift, but they are rescued by friends who have been searching for them. Butler is captured after a high speed chase, Giselle gets her treasure, and the Keens retrieve their yacht.
The Jack of Diamonds was an Exclusive–Vernon Sewell co-production, filmed entirely on location during the peak of the “quota-quickie” era. Sewell directed the first of his three pictures for the company, filming aboard his personal yacht, as he so often did in other movies. The film was trade shown at the Hammer Theatre on January 12, 1949, and was released on February 7. The ABC circuit teamed it with Say It with Flowers for a second release on May 23. The Kinematograph Weekly (January 13) called The Jack of Diamonds “A neat and thrilling story—it’s certain to register with the general mien of picturegoers.” The film does not seem to have survived.
Released July 18, 1949 (U.K.); 73 minutes; B & W; 6541 feet; a Hammer Film Production; an Exclusive Films Release; filmed at Viking Studios and on location in Blackpool, Liverpool, and Pinner, England. Director: Godfrey Grayson; Screenplay: Elizabeth Baron and Ambrose Grayson, based on a story by Ambrose Grayson and the BBC Radio Series; Director of Photography: Cedric Williams; Associate Producers: Anthony Hinds, Mae Murray; Camera: Peter Newbrook; Production Manager: Don Wynne; Art Director: Ivan King; Supervising Editor: Ray Pitt; Assistant Director: Dicky Leeman; Makeup: Jack Smith; Continuity: Prudence Sykes; Supervising Electrician: Jack Curtis; Casting Director: Edgar Blatt; Casting Manager: Mary Harris; Music Score: Frank Spencer, Rupert Grayson; 2nd Assistant Director: Jimmy Sangster; Focus: Jerry Turpin; Clappers: Neil Binnie, Chief Sparks, Jack Curtis; Working Title: Dick Barton and the Silent Plague; U.K. Certificate: U.
Don Stannard (Dick Barton), Sebastian Cabot (Fouracada), Jean Lodge (Tina), James Raglan (Lord Armadale), Bruce Walker (Snowey White), Humphrey Kent (Colonel Gardner), Morris Sweden (Dr. Robert Creston), John Harvey (Major Henderson), Sidney Vivian (Inspector Burke), Toni Morelli (Nicholas), George Crawford (Alex), Laurie Taylor (Nick), Schulman (Flash).
Special agent Dick Barton (Don Stannard) and his sidekick Snowey White (Bruce Walker) find the body of fellow agent Creston (Morris Sweden) who has been investigating supposed arms dealer Fouracada (Sebastian Cabot). Barton and Snowey are captured by Fouracada who, before having them killed, cryptically remarks about “an experiment.” The boys escape and inform the police, but Fouracada eludes them on his way to High Glen. He has developed a vibration ray which can destroy an entire city, which he proves at High Glen. Barton joins with government official Lord Armadale (James Raglan) to investigate and meets his charming secretary Tina (Jean Lodge), who soon comes under the agent’s suspicion. A note she discarded reveals that she is in league with Fouracada.
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Barton and Snowey follow her dog Flash to an isolated trailer where they are captured by Fouracada who again orders their deaths, but Tina has a change of heart and has Flash attack one of the thugs. Barton deduces that the Blackpool Tower will be the next site and notifies Lord Armadale who, incredibly, is the plot’s mastermind with world domination his goal! He arranges for Barton and Snowey to be killed at the Blackpool Zoo, but Tina again intervenes and Dick throws Fouracada into a room of deadly snakes. Barton finds Lord Armadale in the Tower, ready to unleash the devastating vibration. During the struggle, Armadale falls to his death.
Unlike the first two Barton pictures, Dick Barton Strikes Back was filmed “straight,” minus the expected slapstick, although there were elements of humor. The feel is so close to James Bond that one wonders if Ian Fleming had been a Barton fan. While revenues from the previous Bartons were piling up, location filming began at Blackpool, the London Zoo, and London Airport (now Heathrow) in August, 1948. Interiors were shot at Viking Studios, Kensington, from September 9 to October 28. The company planned to send a crew immediately to Kenya to shoot location footage for Dick Barton in Darkest Africa, but moved the picture back to summer, 1949. The change may have been due to the acquisition of Cookham Dean and the expense involved in converting the mansion into a studio. The estate, located near Marlow, had twenty-five bedrooms and a 110-by-70-foot ballroom, in 16H acres.
Dick Barton Strikes Back was trade shown on March 7, 1949, at the Palace, and the picture was released on July 18 to take advantage of the school vacation. On Saturday, July 9, an afternoon garden party was held at the studio to celebrate, with over two hundred guests invited. Don Stannard left with his wife Thelma and, among others, the Sebastian Cabots. The Kinematograph Weekly (July 14) reported that
The vehicle was seen to swing out of the drive running down the twisted incline which links the house with the main road into Cookham Village. It got out of hand on a bend and overturned. Stannard was killed instantly, and all the passengers were taken to Maidenhead Hospital. Mrs. Stannard was unhurt, but the other passengers all suffered severe shock and lacerations.
Dick Barton Strikes Back pleased both audiences and reviewers. The Kinematograph Weekly (March 10, 1949): “The film completely captures the spirit of the incredibly popular BBC feature. A good natured essay in villainy, disarming ingenuousness, good staging”; The Daily Film Renter (March 10): “Full of everything the fans look for”; and Today’s Cinema (March 11): “One cannot easily envision a greater magnet for the popular public.”
Stannard’s death ended the plans for a fourth Barton adventure, since he had been so identified—and successful—with the role.
Dr. Morelle—The Case of the Missing Heiress
Released June 27, 1949 (U.K.); 73 minutes; B & W; 6602 feet; a Hammer Film Production; released through Exclusive; filmed at Cookham Dean; Director: Godfrey Grayson; Producer: Anthony Hinds; Screenplay: Roy Plomley, Godfrey Grayson, based on Wilfred Burr’s play; Director of Photography: Cedric Williams; Camera Operator: Peter Brayan; Production Manager: Arthur Barners; Music: Frank Spencer, Rupert Grayson; Casting: Mary Harris; Makeup: Marjorie Green; Hairstyles: E. Hollis; Art Director: James Marchant; Editor: Ray Pitt; Continuity: E. Chapman; Sound Recordist: E. Vetter; Sound System: United Programmes; Assistant Director: Bob Jones; Stills: Edgar Wrather; U.K. Certificate: A.
Valentine Dyall (Dr. Morelle), Julia Lang (Miss Frayle), Jean Lodge (Cynthia Mason), Philip Leaver (Samuel Kimber), Peter Drury (Peter Lorrimer).
Miss Frayle (Julia Lang), secretary to Dr. Morelle (Valentine Dyall), a cynical investigator, is upset by the disappearance of her friend Cynthia (Jean Lodge). She goes to Cynthia’s estate where her friend, heiress to a fortune, lives with her stepfather Samuel Kimber (Phillip Leaver) and obtains a position as a maid. She joins forces with the butler Bensall, and studies the activities of Kimber and Lorrimer (Peter Drury), a neighbor with whom Cynthia was in love. She finds the charred remains of a body in a brick shed, where Bensall is later murdered. Desperate for help, Miss Frayle contacts Morelle. He arrives at the estate and, using different disguises, observes Kimber and Lorrimer. By using his deduction methods, he unmasks Lorrimer as the murderer of Bensall and Cynthia—whose inheritance he coveted—and saves Miss Frayle from being buried alive.
Like the Dick Barton films, Dr. Morelle was based on a successful BBC radio character. Created on the stage by Wilfred Burr and on radio by Ernest Dudly, Morelle was a detective in the mold of Sherlock Holmes. This was the first film to be entirely financed by the Film Finance Corporation, and was budgeted at a mere $56,000. The corporation’s head, James Lawrie, was pleased by his investment and said that, “James Carreras has shown pretty shrewd judgement in cashing in on such a popular BBC series.”
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Dr. Morelle was also the first Hammer film to be produced at Cookham Dean. Filming began there on November 15, 1948, concluded in late December, and was trade shown on May 4, 1949, at the Rialto. The picture opened to good reviews on June 27, as in The Kinematograph Weekly (June 30): “Ingenious story, good characterizations, well-timed thrills, popular comedy relief, good staging, neat direction, first class camerawork, and box office title.” With such praise, one wonders why Dr. Morelle has seemingly vanished and goes unmentioned in film guides.
Hammer’s plans to produce a series of Morelle pictures ended in September, 1949, when Ernest Dudley attempted to establish his own company to film a series. The proposed Hammer series could well have been a success, based on the Kinematograph review of the first film and the opinion of this unidentified critic:
Dr. Morelle doesn’t pretend to be a world beater—in fact it is really a second feature, but it has one essential quality about it—it is entertainment! If you can make a picture in five weeks at a cost of £14,000 as Exclusive has done, and turn out something that will please the cash customers, what more can you ask?
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Hugh Latimer (PC Archibald Berkeley Willoughby), Patricia Cutts (Joan), John Penrose (Barney), Pat Nye (Ma Brady).
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Police Constable Willoughby (Hugh Latimer) bemoans the lack of excitement in his job, a lack that ends when he witnesses the theft of a truckload of whiskey and the murder of a watchman. Inspector Wilson assigns Willoughby to the case under the alias of Vince Kelly, gangster. He gains the confidence of Barney (John Penrose), second in command of the hijackers who are led by an unseen “Boss.” Willoughby is recognized by Skinny Ellis and narrowly escapes with his life.
With the help of his girlfriend, Joan (Patricia Cutts), he corners the gang at Ma Brady’s (Pat Nye) cafe, and reveals her as “The Boss.” PC 49 then returns to his familiar beat.
Like many Hammer films, The Adventures of PC 49 was based on a BBC production, giving it a built-in audience. One of the advantages of filming a radio show is that everyone wanted to see what sort of faces were given to familiar characters. Spotlight praised the
Forty-year-old Jimmy Carreras, the man who made these radio films, who can sit back and say, “All my pictures are making money!” They are, too—about £5,000 a film, and Carreras turns out about eight a year in a country house which he rents for fifty guineas a week by the river at Bray. In the country house, the film workers can live as well as work.
Jack MacGregor, in an unidentified article, complimented Hammer’s “first rate technical crew. It was a happy group, for they knew a continuous program is lined up, and that the end of PC 49 does not mean unemployment.” This was a rocky period for the film industry in general, and Hammer was one of the few small producers in the U.K. with a steady run of pictures. The Adventures of PC 49 began on February 18, 1949, on a four-week schedule, to be followed by Meet Simon Cherry (April 4), Celia (June 20), and The Man in Black (August 22). Planned, but not filmed, were Taxi, Inspector Hornleigh, Miss Dangerfield, The Robinson Family, and Armchair Detective, which spoke well of the company’s widening intentions.
The Adventures of PC 49 was trade shown on July 17, 1949, at the Rialto and was released on July 23 to reviews typical of “quota quickie.” The Kinematograph Weekly (July 17, 1949): “Pocket thick ear, it gets away to a good start, maintains a lively pace; and although a little transparent and lacking in ringcraft, effectively interweaves conventional rough stuff with an evergreen love interest.”
The film’s success led to a sequel (with Brian Reece replacing Hugh Latimer), and helped to further establish Hammer as a producer of popular entertainment.
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