All's fair… The Good Die Young (1954)/ When Giants Fought (1926) BFI Dual Format, out now

‘All the good boys got themselves killed in the war or should have done. The good die young; that’s what we were meant to do. But we didn’t die. Oh no – we fooled them, we stayed alive. And, worse than that, we came back. So now we’re in the way, we’re redundant. We’re not wanted.’

 

Another BFI release from the post war era and one that reveals concerns from the dried-out beginnings of the 1950s with four men in desperate need of an even break and some money. For three of them, the fault is not really their own, they’ve had bad luck, whereas the fourth has made his own luck wasting away opportunity until he has nothing left but to risk the fate of others to find his fortune.

 

It's no surprise that of the actors on show, Laurence Harvey is the real bad apple, but even he comes up with a story of bitterness blaming the War in which the “good” were first to die, as the motivation for his entirely self-centred existence. As with all good noir there is so much shade but also choices to be made and few who had witnessed the sacrifice of the war generation would have much sympathy for his self-pity. The others, on the other hand all retain some relatability which makes the film especially nuanced at a time when few criminal characters could expect to get away with much in British film let alone be willed on by the decent crowd in the darkness.

Harvey, Baseheart, Ireland and Baker

 

Directed and co-scripted by Lewis Gilbert, the story is based on a novel by American writer Richard Macauley and the events transposed to austere London with a number of notable US performers including Richard Basehart and the glorious Gloria Grahame as flighty film star, Denise Blaine. Grahame gives enough here to see why she is still so highly rated; she’s got an almost out-of-time aggressiveness and her timing is superb uplifting every second she is on screen. By comparison, home-grown starlet Joan Collins seems under-powered and more than a little miscast as the rather timid Mary Halsey, a young married who just can’t escape her clinging mother.

 

For Brit-grit and screen presence look no further than Stanley Baker as down on his uppers boxer Mike Morgan, a man clinging onto a career after multiple defeats and going into his last fight with a broken hand and even his brother-in-law Dave (James Kenney, who was so memorable in Cosh Boy) betting against him. But, somehow, Mike prevails and has won enough to retire and look after his wife Angela only Dave is now deep in debt and on the run from some unforgiving gangsters… blood is thicker than water and Mike finds his funds all gone towards the preservation of lost causes.

Gloria Grahame and John Ireland

 

Talking of which, over in New York City Joe Halsey (Richard Basehart) quits his job to try and bring his wife Mary (Joan Collins) back from England where her mother (Freda Jackson) keeps on inventing illnesses and other excuses to keep her girl at home. It’s a heart-breaking choice in the best of circumstances and probably a fairly common scenario for a lot of war brides, but something has to give and there’s no way Joe can get the work he needs and Mary is pregnant, forcing the issue to a head.

 

From dreary suburbia to Knightsbridge hotels and the even unhappier life of glamourous Gloria as flighty Hollywood starlet Denise Blaine married, just about, to American airman, Eddie (John Ireland). The two are moving in increasingly elliptical orbits as she shoots in locations and he gets transferred to Germany; they were clearly equal once but now Denise is showing more interest in her co-stars.

Richard Baseheart and Joan Collins

 

The catalyst for bringing these three desperate husbands together is Harvey’s Miles 'Rave' Ravenscourt, a decorated war “hero” married to Eve Ravenscourt (Margaret Leighton) or rather her money. Rave is your classic public-school waster, disappointed in love, life, war and pretty much everything and who keeps on losing what ever money he has in gambling. Eve refuses to advance him anymore and there’s even a lovely cameo from Robert Morley as Sir Francis Ravenscourt, Rave’s exasperated father. Sir Francis gives the film’s biggest clue yet as to the soulless void behind his son’s relentless flippancy… in the eyes of post-war viewers his ceaseless betrayals surely rank as high as any more physical crime.

Rave it is who pulls the others together after the encounter each other by chance in a public house which, incidentally, is exactly the kind of pub I’ve been looking for after four months of lockdown! He gradually nudges them towards the idea of one big payday and sets out a sure-fire way to rob a post office that will bring them tens of thousands each; more than enough to set them free for a second chance.

 

Rene Ray, James Kenney and Stanley Baker

The film opens with the four of them sat in a car about to undertake the robbery and, having gone full circle, the raid takes place and their fates are played out in a breathless final segment. No spoilers, but at one point a shocked Mike observes that Rave has never seemed more alive than with a gun in his hand and with men to kill…

 

The film is that dark and Harvey’s key lines quoted at the top were cut from the British release as the BFI’s Dr Josephine Botting reveals in her booklet essay; perhaps it was felt that this was too cynical and disrespectful or maybe the powers that be felt it might strike to much of a chord? Dr Botting’s essay gives fascinating background on the production and there’s also an article on Lewis Gilbert from Peter Rankin.

Laurence Harvey and Margaret Leighton - apparently Laurie kept the pictures for "personal use"...

The set includes the worldwide home entertainment debut export version of the film an extended, alternative cut of the film – featuring material not included in the British release version. There’s also Not Like Any Other Director: Lewis Gilbert (1995) an edited excerpt from a 1995 onstage interview with the director held at the National Film Theatre with Michael Caine is on hand to introduce his friend. Gilbert directed Caine in Alfie (1966) and Educating Rita (1983), two of my favourite Michael’s!

 

As is traditional, there are also a selection of delicious shorts from the BFI archive including Midnight Taxi (1946) Norman Hemsley’s look at bustling London after dark and Under Night Streets (1958) Ralph Keene’s documentary showing how an army of workers cleans the London Underground in the four hours between close-down and rush-hour.

Frank Craig goes out to battle Tom Cribb

 

The highlight for me is When Giants Fought (1926), Harry B Parkinson’s tale about the first black contender for Britain’s heavyweight bare-knuckle boxing title in 1810. Frank Craig plays the real-life Tom Molyneaux who fought champion Tom Cribb (Joe Beckett) over 35 rounds in 1910 and, by some accounts, should have won. It is a fascinating film and Frank Craig’s plays Molyneaux with conviction and pugilistic poise.

The story uses the framing device of an old man telling tales in a Holborn alehouse many years later. He regales his audience with the battle of a sailor and soldier for the love of a country maid and this ends up being a wager on the outcome of the fight. The threesome’s reaction to the course of the fight – and the watchers in general – reveals much of the Twenties’ creative’s views of Georgian racist attitudes and some of the language on the intertitles is shocking another century on even although they also reveal which side the filmmakers were on.

In the end Molyneaux is cheated of his deserved victory by Cribb’s team and a lenient referee… and there’s a twist in the tale of love too. All’s unfair in love and boxing.

 

Another reason, if you needed one, to buy this new set. It's available from the BFI online and on the Southbank. Another winner!

Great locations too and Mr Gilbert does a grand job with creating dramatic tension and a sense of place, especially during the closing sequence! 

The Silent Detective... The Hound of the Baskervilles (1921), Barbican with Neil Brand

In these days of Sherlock the sociopath (UK) and a female Doctor Watson (USA) it’s hard to imagine the impact of the original stories on contemporary audiences. This film was the first feature produced as part of the Stoll series and was well received by Arthur Conan Doyle who was still writing his character at the time – this was six years before his last The Adventures of Shoscombe Old Place.

It seems that Doyle was particularly impressed with Eille Norwood who played his master detective. A vastly-experienced stage actor, Norwood so impressed the author with his obsessive attempts to bring every detail of Holmes to light that he gushed about his “brooding eye” and  his “rare quality, which can only be described as glamour, which compels you to watch an actor eagerly even when he is doing nothing.”

First edition Hound from 1902

Even though the films had moved Holmes into the modern age of telephones and motorcars, Doyle remained a fan of the forty five shorts and two features produced by Stoll and mostly directed by the great Maurice Elvey (George Ridgwell was brought in for the second “series” in 1922). All of which renders them the only author-approved televisual adaptations… what would he have made of Messrs Cumberbatch and Millar, would he consider them to have the same level of “mastery” as Mr Norwood?

This was the first in the series of screenings at the Barbican timed to coincide with an exhibition on the great detective at the nearby Museum of London. It featured Mr Neil Brand on piano who gave his all with full-on polychromatic flourishes that spiced up the action with dynamic chords of which Bernard Hermann would have been proud.

McDougall, Norwood, Raynham and Willis

The film doesn’t compare with Elvey’s 1918 Lloyd George biography or his sublime Hindle Wakes (1927) but this is to misunderstand the context of the Stoll films: rapid turn-around populist serials that were low on budget and time. There are some wonderful exterior shots and some rapid cutting as the action hots up with parallel perils whilst there are a few sequences that, given more time, the director would have perhaps refined better. It matters not, The Hound of the Baskervilles is great fun as it was always intended to be.

Eille Norwood’s Sherlock Holmes is possibly more understated than I expected but this too is a factor of the production context: he’d honed his character over the previous 15 shorts in 1921 and, by now, was both well known as and well used to his detective. You have to view his performance in the context of the broader series and thankfully we have three shorts and another feature to go.

Eille Norwood

He is indeed a magnetic presence on screen and his Sherlock remains unflustered by stories of mythical hell-hounds and goes about his new case in calmly-innovative fashion.

Dr. Watson is played by Hubert Willis who was in all of the series save the last film following his untimely passing. He is a dogged (pun intended and there may be more…) and brave companion and is sent by Holmes to investigate the characters in and around Baskerville Hall following the suspicious death of Sir Charles Baskerville and to help protect the inheritor of the title, Henry Baskerville (Rex McDougall) an almost overlooked relative of Sir Henry returned from the United States.

Hubert Willis and Eille Norwood on another case...

Sir Charles’ physician, Dr. James Mortimer (Allan Jeayes), tells of his client’s last night and how he was terrified of the family curse:  a flame-charged hound is said to roam the moors before the death of every Baskerville! Sir Charles was found dead from a heart attack but… what caused it?

Watson observes the rather suspicious family butler, Barrymore (a splendidly wide-eyed comic turn from Fred Raynham) as well as the brother and sister from the neighbouring mansions, Roger Stapleton (Lewis Gilbert) and his nervy sister, Beryl (Catina Campbell). To be honest, a large number of people are behaving suspiciously, suspicious…

We see the dog rampaging across the moors, head seemingly engulfed in supernatural flames whilst the mystery deepens when an escaped convict is known to be nearby and a mysterious figure is seen pacing the moors in the midnight hours…

Did the butler actually do it?

Everything is set for the re-entry of the formidably forensic detective as Beryl faces peril, Roger gets cross, Barrymore signals danger and Henry almost shows his pedigree, chum, as that dog just won’t lie down.

The Hound of the Baskervilles is an, all too rare, example of popular early 20’s British film and one based on great indigenous fiction.  This is the stuff our great grand-parents lapped up (pun etc…) in their rare time and we’re not so different today as the success of the Sherlocks continues world-wide.

The film is also pretty hard to see and given that the print used was in such good quality, surely it’s ripe for the box-set treatment? Maurice Elvey presents Eille Norwood as Sherlock Holmes... it has a ring doesn’t it?

In the meantime,there is a DVD-R with three of the shorts available from Amazon.com - The Man With The Twisted Lip (1921), The Dying Detective (1921) and The Devils Foot (1921).