Kill Her Gently

The makers of this film clearly wanted to cast this film so that they could get distribution both in America and Europe.What else can explain the the strange casting of the convicts.Nevertheless this is quite a reasonable British film noir,with plenty of bodies scattered around.Though you have to get through one major implausibility.The police blockade not looking to see the 2 passengers in the car with Griffiths Jones.Jones depiction of his growing insanity seems to depend on him being lathered in sweat and his eyes becoming rather more prominent.One would have thought that his rather strange behaviour would have given a clue to people.As usual the police only get there in the end to mop up the pieces.

In 1957's Kill Her Gently, Connors (Marc Lawrence) and Svenson (George Mikell), an American and a Swede, escape from prison and are picked up by a man, Jeff Martin (Griffith Jones) on his way home. He knows who they are and tells the police blockade that they are two friends.

The escapees don't quite understand why he's being so nice, until he offers them 1000 pounds to kill his wife. In exchange, he offers to get them out of the country that night.

The men put on an act of treating both Jeff and wife Kay (Maureen Connell) as hostages.

Turns out that the true looney-tunes in this group is Jeff. Kay cheated on him with the doctor who had him committed. Well, he doesn't seem to have fully recovered.

Kay is the one with the money, but when the monthly deposit hasn't yet arrived, tensions grow, and Jeff needs to sell his car. He's arranged for them to leave by evening, but they're not going anywhere without the money.

Eventually bodies start piling up in this violent and misogynistic film. Director Charles Saunders keeps the tension going. The American and British cast was for a wider distribution of the film. Marc Lawrence seems to be the biggest name, living in Europe due to being blacklisted.

Kill Her Gently is a sub Hitchcockian British B thriller starring American Marc Lawrence who had escaped to Europe after being blacklisted for his political views in the 1950s.

Two convicts break out of prison. Connors is an American and Svenson is a Swede. While on the run they are picked up by a motorist, Martin who realises who they are but helps them pass a police road block. Martin makes the a proposition to the fugitive. He will help them leave the country if in return they will kill his wife.

It looks like Martin is more deranged than the convicts who has suffered a mental breakdown for which his wife had him sectioned and who also thinks she might be having an affair.

Most of the film is set in the couple's home as Martin initially comes across as a victim with his wife. However the convicts become reluctant carrying out his task especially Svenson.

This is a tight, short thriller but with a very rushed ending. Marc Lawrence impresses as a tough guy with a looming conscious. Griffith Jones is also memorable as the conniving, cunning and desperate husband who wants to punish his wife for having him incarcerated.

"Martin" (Griffith Jones) is driving home one evening when he picks up two hikers. Once in his car, he realises that they are those wanted by police having just escaped from prison. They don't know he knows, and so are rather taken aback by his proposal. He will give them money and a path out of the country - if they agree to murder his wife "Kay" (Maureen Connell). The more brutal of the two - "Connors" (Marc Lawrence) readily agrees and his sidekick "Sven" (George Mikell) is soon on board as they arrive at his home where he concocts a plan to get their money whilst they do the deed. Of course, things don't quite go to plan - the police are looking for the escapees and his wife isn't quite the shrinking violet type. Is she toast or will they manage to get away with it? The premiss is quite interesting by virtue of the supposed spontaneity of the plan. Sadly, though, once they are all housebound the plot starts to unravel and there is just a bit too much hysteria as "Connors" decides killing is not the only crime he wants to get up to. The last ten minutes do have a certain vindication to them, but by then the thing had largely run out of steam. Though I did quite enjoy this, the narrative could have been better focussed around a cast of competent B-listers who do their jobs adequately in a feature that had more potential.

This is one of those tight, moody British crime thrillers of the 50s, one which just about lives up to its great title. Despite being set in a rural/suburban setting, the proceedings are imbued with the post-war brutality and seediness common to the genre, not to mention plenty of misogyny and xenophobia.

The plot keeps moving and the atmospheric and psychological details are piled up at an equal pace, making this compelling viewing. Perhaps most telling is that the cultivated British middle class citizen proves far nastier than the "greasy" foreign criminals. The ending is a bit abrupt (possibly due to censorship or a cut TV print), but otherwise it plays all the angles perfectly. Marc Lawrence seems to have had a knack for finding neat little productions like this in which to participate.

If you like this one, try "Man in the Back Seat", too.