Scotland Yard Inspector George Gideon starts his day off on the wrong foot when he gets a traffic-violation ticket from a young police officer. From there, his 'typical day" consists in learning that one of his most-trusted detectives has accepted bribes; hunts an escaped maniac who has murdered a girl; tracks a young girl suspected of a payroll robbery and, then, helps break up a bank robbery. His long day ends when he arrives at home and finds that his daughter has a date with the policeman who gave him a ticket that morning.
|John Wayne visits Ford on set|
|Bank robbers were toffs then|
1958 seems very quaint here - as it does in the same year's studio confections THE RELUCTANT DEBUTANTE and Donen's INDISCREET, but things were changing as the '50s closed: next year 1959 saw ROOM AT THE TOP, I'M ALL RIGHT JACK, SAPPHIRE (and the American ANATOMY OF A MURDER - my next report, it airs again tomorrow); while 1960 brought that new era of movie-making with PSYCHO, L'AVVENTURA etc as well as England's PEEPING TOM, SONS AND LOVERS and 1961's VICTIM and FLAME IN THE STREETS, and those 'kitchen sink' items like A TASTE OF HONEY while by 1963 it was time for the new decade and BILLY LIAR, THE SERVANT and NOTHING BUT THE BEST ... as per other '60s posts here.
Lewis Gilbert's FERRY TO HONG KONG, a Rank Organisation actioner I remember from 1960 seems interminable now. We are on Orson Welles' ferry as habitual drunk Curt Jurgens is expelled from Hong Kong but is not allowed to enter Macao, so he goes back and forth on the ferry, to the annoyance of Orson, treating it all with disdain as the effete captain. Add in Slyvia Syms as a love interest (she was also in Hong Kong for THE WORLD OF SUZIE WONG that year), Irish Noel Purcell as the chief engineer and Jeremy Spencer as first officer. Rank was trying to compete with international movies then, this though is not one of their better efforts and quickly becomes tedious despite a storm at sea and marauding pirates, while we wonder at Orson earning a crust here.
Sylvia is still going strong now, happily playing old ladies (popping up in REV etc, as well as her turn in THE QUEEN) - but as I said a while ago whatever happened to Jeremy Spenser?
It will be a pleasure to remind myself of Orson's greatness by returning to his Falstaff in CHIMES AT MIDNIGHT, which we liked so much back in 1966.