User reviews

The Last Page (AKA: Man Bait) is directed by Terence Fisher and adapted to screenplay by Frederick Knott from James Hadley Chase's story. It stars George Brent, Marguerite Chapman, Raymond Huntley, Peter Reynolds and Diana Dors. Music is by Frank Spencer and cinematography by Walter J. Harvey.

John Harman (Brent) is a London bookshop manager who finds himself blackmailed by his busty young assistant, Ruby Bruce (Dors), and her new ex-convict beau Jeffrey Hart (Reynolds), when he foolishly steals in for a kiss during after hours stock taking.

Bookshop Noir.

British Hammer and American Exclusive teamed up to produce a number of low budget crime dramas in the early 1950s, often using American stars and directors blended in with British actors, they were produced in Britain in next to no time. The Last Page is a safe viewing for the undemanding film noir fan. Terence Fisher would become a legend amongst British horror fans (rightly so) for his work on Hammer's reinvention of the Universal Creature Features. Here he crafts a nifty atmospheric melodrama without fuss or filler, while just about managing to stop the flaws and daftness of plotting from sinking the picture.

Story has some interesting noirish characters and themes. The man who begins to pay for a moment of weakness, the young shapely gal in over her head-lured to the dark half by a well spoken criminal element, while some secret passions amongst the staff of this particular bookstore come to the fore once things inevitably go pear shaped. The setting is a doozy as well, this bookstore is perfectly antiquated, so much so you can smell the leather bound novels nestling on the shelves. Walter Harvey's (The Quatermass Experiment) photography ensures that shadows feature throughout, and there's the odd macabre touch that befits the writing of Frederick Knott (Dial M for Murder/Wait Until Dark).

Cast are professional to the last. Brent (The Spiral Staircase) and Huntley (I See a Dark Stranger/Night Train to Munich) are the epitome of gentlemen in a rut, stoic and stiff, grumpy yet gritty, but nicely portraying men we expect to appear in a bookstore noir. Chapman (Coroner Creek) has an abundance of hard looking sexuality and Reynolds has a spiv nastiness about him, very cold but charming. But it's Dors who holds all the aces, she would impress herself upon many a red blooded male during three decades of British film and TV. Here at aged 21, as Ruby, she's a curvy blonde babe with full lips, a gal who understandably turns the heads. The character is tardy as well, hardly a crime, but mostly in Dors' hands she's believable as a girl clearly out of her depth, she's not a femme fatale, she's a weak willed person hurtling towards film noir doom. It's here where this British B noir gets its worth.

It's not a great film by any stretch of the imagination, but it is a good one considering the modest budget afforded it. There's dumb decisions made by characters, holes of plotting and the ending fails to seal the deal after the hard noirish mood eked out by Fisher, Harvey and Dors. However, as film noir time fillers go, it's well worth checking out. 6.5/10

A better than average drama written by Frederick Knott, the author of "Dial M for Murder" and "Wait Until Dark", this shows Terence Fisher expertly handling a story of crime, lust and death during his efficient early phase working for Hammer Films, five years before the big success of "The Curse of Frankenstein". Although the main character is John Harman, the mature manager of a London bookstore (played by Irish actor George Brent), two young actors play more appealing characters who are key components of the plot and feature: Diana Dors and Peter Reynolds. A ravishing blonde beauty at 20, Dors had had a dozen of minor screen roles before being introduced in this production as Ruby Bruce, a sexy worker who turns everything around her upside down after she gets mixed up with Jeff Hart, a seductive ex-con played by Reynolds. Under Jeff's influence Ruby blackmails Harman, next a couple of corpses complicate the proceedings, soon Harman is accused of murder and then his secretary (American actress Marguerite Chapman) helps to solve the mystery, putting her life in danger. Peter Reynolds is fine, but he does not have much to do as the villain with sinister charm. It is Diana Dors who has more room for creating a real character. She was a very good actress, and although comparisons were often made with Marilyn Monroe, on the acting level she surpassed her American colleague: here she convincingly mixes naive wickedness with vulnerability, making the film not only the account of Harman's story but the drama of a confused working girl as well.

In 1950, before Hammer made a name for itself with a memorable horror output, it set up a deal with American producer Robert L. Lippert to make a dozen or so low budget crime dramas, all of which were to be shot in the UK. In all the arrangement lasted for some five years, and utilised the fading star qualities of such past-their-sell-date American talent such as Dane Clark, Paul Henreid, Lizabeth Scott and George Brent, as well as leading British character actors.

None of the films are of the front rank, being issued originally on the bottom half of double bills. Hammer may not have established itself as a memorable producer of noir on the basis of this transatlantic deal, but the results have been unfairly neglected (being the basis of only a passing reference in the official history of the studio for instance).

Criticism of the films, apart from focusing on their small budgets and hand-me-down leads, has generally dwelt on the success or otherwise of transplanting an American hardboiled genre into a different soil. Certainly the first of those made under the new arrangement The Last Page (aka: Man Bait, 1952) is example. Far too genteel to be successful as more than a mildly suspenseful thriller, its impact is further affected by the unassuming performance of lead George Brent - an actor whom Betty Davies apparently liked as a partner on screen as it was so easy to steal the picture from him! Brent plays the manager of a bookshop, hardly the first choice for a thriller/ noir setting (although one makes a memorable appearance in The Big Sleep) who is blackmailed by the bad blonde of the title - no less than Diana Dors, an early screen role. It was an early credit too for one of Hammer's best directors Terence Fisher, though again this critic, at least, thinks he remains a minor talent. Like practically all the Hammer films in this series, the title was changed for the American market and 'Man Bait' certainly sounds more the job for the pulp world that the films inhabit. It also places Dors firmly at the centre of this film with a fine sense of atmosphere - having worked in the book trade for some years I found the dated interiors and procedures especially fascinating - while some other, equally effective location shooting amidst a now-lost London adds to the charm.

...First thing he does is go to a bookstore. He tries to steal a book. That is how logical this movie is throughout. When we see shelves of books at a time, later, the books seem to be attached to each other. They're like room decorations some people buy in bulk.

The proprietor of this bookstore is, of all people, George Brent. He had a long career. Though this is a noir of sorts and I therefore can't give it a bad rating, let's just say this is hardly a career highlight for him.

Marguerite Chapman is attractive and convincing as his employee. She's stylish and pretty and comes off as nice.

This is an early Diana Dors film. She's decent in it. She gets pulled into some very bad behavior. But she's not a truly terrible character. She's chronically late to work and weak willed.

This isn't a memorable or distinguished film. But it isn't terrible, either. Nor does it hold to any formula. It's mediocre in a unique way.

A very young Diana Dors, who looks very much like Margaret Lee, it's like they are twin sisters. She also looks like a young Marilyn Monroe. She's not bad in the role of the naive young woman, killed by the villain played by Peter Reynolds. George Brent and Marguerite Chapman are very good in two sensitive roles. The film is slower in the first half, becoming alert and thrilling towards the end. Terence Fisher, the later expert on horror films, did a good job in this film made early in his career.

J. A. Pearson's Bookshop evokes little of the warmth, cosiness or hospitality presided over by Anthony Hopkins in '84 Charing Cross Road'. Stern, pompous Raymond Huntley is frequently falsely accusing chirpy, good-natured Harry Fowler of not doing his job. It's hardly surprising that dutiful, beautiful Marguerite Chapman has no interest in joining him for an after work drink. Whilst ravishing Ruby Bruce (Diana Dors), is a largely late arrival, much to the displeasure of her colleagues. Dapper and decent George Brent ably runs the store, but with a disabled wife (Isabel Dean) to care for, he's clearly feeling the strain.

In a moment of weakness, Brent commits a minor indiscretion with Dors, for which he is profusely apologetic. The matter seems closed until the voluptuous sales girl informs love interest, Peter Reynolds, whose leering, smug, self-satisfied facial expression seems to be constantly inviting.....a deftly aimed fist, to at least temporarily wipe off that nauseating smirk! It is a measure of his despicable character, that rather than being the jealous lover, '£' signs light up in his eyes and he manipulates the naive Dors along a path of extortion and blackmail towards her boss.

A murder on the premises and the accidental, but mysterious death of his wife makes Brent the target of an intense police investigation and he receives little sympathy or support from the humorless Huntley. In what begins to play out like Phase two of 'The Phantom Lady', it's left to the doting and devoted Chapman to clear Brent's name, even at the risk of endangering her own life.

In an era of movie making when justice had to be seen to be done, it's unsurprising that 'The Last Page' concludes with a long sentence. The film is hardly overflowing with novel ideas, but there is sufficient action between the covers to maintain interest.

The only film Hammer made from a novel by James Hadley Chase; a bookshop provides an unlikely backdrop for such a sordid little story of passion and blackmail.

Despite the obligatory American stars the real drama concerns the British supporting cast; most of whom are allowed a little nuance. Although the American title refers to Diana Dors, it's actually more applicable to Peter Reynolds, who really plays the film's baddie, and who you spend most of the film yearning for him to get a good punch in the face.

Although the wonderfully sultry Diana Dors receives a full frame "introducing" credit, this was actually her 16th movie. She was in fact credited in 13 of her previous appearances and in at least half of them had major roles. So much for "introducing"! Needless to say, Diana effortlessly walks away with the movie even though her role is not as large as the title implies. Most of the action is held down by sleazy Peter Reynolds who contributes most of the noirish plot twists, assisted by opportunistic blonde, Eleanor Summerfield. The middle-aged hero is adequately presented by George Brent, although both he and his fellow American, Marguerite Chapman, appear so overawed by their U.K. surroundings, that even when Dors and Reynolds are not around, they allow everyone else in the cast, including Raymond Huntley, Meredith Edwards and most especially Harry Fowler—and even Leslie Weston and Nelly Arno—to steal scenes from them! In all, however, this is a reasonably gripping little thriller, provided you don't expect another Dial M. for Murder from writer Frederic Knott. The atmospheric bookshop set is both unusual and highly effective.

That was worth it just to see a 20 year old Diana Dors looking stunning with lips to die for.

Apart from the bottle blonde she looked largely natural at this time and more to my taste that the over made up Marilyn Monroe.

Her character attemps a clumsy seduction in the back of crusty George Brent's book shop office that along with her slimy male accomplice played by Peter Reynolds leads to blackmail and tragedy.

George Brent had his Hollywood moments I particularly liked him in Temptation playing an Egyptologist alongside Merle Oberon but here he is passed his prime.

An early Hammer thriller movie for a rainy winter's afternoon , now available in the public domain on Youtube.

Filmmaker Terence Fisher made his first film for Hammer with this fairly routine noir-ish thriller that was quick to capitalize on the presence of sultry budding starlet Diana Dors ("The Long Haul"). A true femme fatale she really isn't; she is actually spurred into action by a sleazier, more morally bankrupt individual named Jeff Hart (Peter Reynolds, "The Delavine Affair"). She plays Ruby Bruce, an employee at a bookstore who catches her boss, John Harman (George Brent, "Dark Victory"), in a moment of weakness as he acts upon his attraction to her and gives her a quick kiss.

This leaves him open to later being blackmailed by the conniving Hart. Then, he must take it on the lam when he's suspected of murder. Fortunately, his wartime nurse turned co-worker Stella Tracy (Marguerite Chapman, "The Seven Year Itch") is in love with him, and is more than willing to give him all the assistance that he needs.

Written by Frederick Knott, based on a story by James Hadley Chase, this entertains in capable if not spectacular fashion. At least Fisher keeps the film moving along sufficiently, and he gets solid performances out of much of the cast. Dors may have been a real selling point (and she is amazing to look at), but in terms of just acting, she's easily outshone by the pretty Chapman. Brent is fine as a character so stoic that he barely bats an eye or sheds a tear upon learning of his wife's death. They're well supported by Raymond Huntley (Hammers' "The Mummy"), an excellent Reynolds as the true antagonist of the piece, Eleanor Summerfield ("Laughter in Paradise") as his gal pal Vi, Meredith Edwards ("The Great Game") as the requisite police inspector character, and Harry Fowler ("The Pickwick Papers") as amiable young bookstore employee Joe.

One good thing this viewer can say about this story is that at least it wasn't completely predictable. It builds to an effectively fiery finish.

Jimmy Sangster, who began his screenwriting career for Hammer a few years later with "The Curse of Frankenstein", was the assistant director here; Michael Carreras was the casting director.

Seven out of 10.

Terence Fisher began his career, as John Gilling and Roy Ward Baker, by making thrillers. I prefer Terry Fisher's film than Gilling's ones though. I speak of the thriller period. This one belongs to the short list that Fisher did with American stars: here George Brent in a role suited for him; a honest guy facing a problem maybe too hard for him to manage. It could look like a James Hardley Chase's adaptation, but a smooth Chase. Diana Dors is excellent as a femme fatale, the kind of character that will follow her a long time in her filmography. But here, nothing could prepare us for what Terence Fisher will do later for Hammer films.

Ruby Bruce, a flirtatious neon-blonde bookstore clerk (Diana Dors) gets caught up in a shake-down scheme that goes very wrong. Usual Hammer horror-helmsman Terrance Fisher puts together a pretty good procedural-noir melodrama as the tantalising nymphet gets manipulated by conniving ex-con Jeffrey Hart (Peter Reynolds) into blackmailing her boss. The cast is serviceable and the story pretty good although the main plot twist does rely on some convenient but not particularly believable behaviours on the part of the victimised boss (George Brent) and his romantically-inclined assistant (Marguerite Chapman). Of course, Dors as the femme fatale is the centerpiece of the film (she figures prominently in the posters (excuse the pun)) and the slightly pneumatic starlet is fine in the not overly demanding role. Not as hard-boiled or as violent as most American noir but an entertaining enough crime-meller starring England's answer to Marilyn Monroe (or maybe Jane Mansfield). The original title was the much less lurid 'The Last Page' (a bland play on the film's 'bookshop' setting).

Another 50s British film with American stars I've never heard of but it's Diana dors and the chap who always played British officials who shine,the plot doesn't really hold water we didn't get to see Diana in her underwear as promised in the promotion so quite disappointing.watchable if you are willing to accept the bonkers reactions of the leading man.

George Brent, towards the end of his film career... it was mostly television after this. he's John Harman, manager of a british bookstore. Jeffrey (Peter Reynolds) starts to steal a book but is caught by Ruby (Diana Dors). they meet for a date, and the adventure begins. stolen kisses, blackmail, even death. such intrigue for a small town bookstore. sound quality is a little rough, but it's ok. Ruby is at the center of all this, but now the cops are involved. more deaths. more intrigue. this one is also titled "the Last Page"... since it takes place in a bookstore! the story is mostly solved by the characters and events... we see very little of the bobbies working on the case. Produced by Hammer Films, which made movies in the UK from the 1930s to the 1970s. Directed by Terence Fisher, who seems to have directed a whole lot of horror films, including Dracula and Frankensteins!

Just watched Man Bait from 1952. This was from Hammer studios before Christopher Lee and Peter Cushing. It was directed by Terence Fisher who directed various Hammer horrors. The screenplay is by Frederick Knott who wrote Dial M for Murder. Based on a story by James Hadley Chase.

Diana Dors (Diana Fluck from Swindon) is "introduced" but it was her 16th film.

Interesting to see that the music is by Frank Spencer. Some mothers.

A viewing of Raymond Huntley before he had a moustache.

Eleanor Summerfield as a young woman.

I had thought of George Brent as a fairly boring American but he was an Irishman. He was born in Galway but moved to New York and spent some time in South Africa looking for gold. He returned to Ireland to study at the University of Dublin. By 1921, he had become a despatch courier for Michael Collins. He was hunted by the Black and Tans with a bounty on his head. He had a tumultuous affair with Bette Davis.

This was the first time I had ever heard of Diana Dors (don't blame me, I'm from the USA and under the age of 40) - but I immediately fell in love with her. The plot centers around a bookstore where Dors' character, Ruby, works. She is the "bad girl" of the office, arriving late and hitting on her boss, played by George Brent. But that's nothing compared to the trouble she gets herself into after going on a date with a man she catches trying to steal a valuable book from the store! He (very easily) convinces her to blackmail her boss and things really go downhill from there. I won't give away more of the plot, because the unexpected twists and turns it takes are half the fun of this film - the other half is provided courtesy of the excellent British character actors who make up the cast. No part is too small to make you notice them! This film noir was directed by the great Terence Fisher for Hammer Films - who together would go on to unleash a slew of excellent Gothic horror films in the 1950's and 60's. A young, brunette Diana Dors easily walks away with the picture harnessing a killer combination of alluring presence and a very natural acting ability.

Following BAD BLONDE, here's another Hammer British Film Noir dealing with a blonde: in this case, beautiful Diana Dors, where any expression wields not only a full-lipped pout, but a seductively vicious pout as the story, centering on blackmail at a high-end English bookstore, slowly... through chatty exposition dialogue... unfolds...

Dors plays Ruby Bruce, whose stunning appearance alone turns men into jelly. Although her rich boss, with a lucrative insurance policy, is tougher than most pawns...

So Ruby teams with ex-convict con man Jeffrey Hart to collect the money as the slow, meticulous nature in which the plot pans out is intriguing...

As Jefferey coaches Ruby from the sidelines (at a posh bar), she becomes more and more guilt ridden and desperate, proving Dors, known as the "British Marilyn Monroe," had more ability to carry a storyline than the American bombshell...

But without her presence, MAN BAIT becomes your typical "wrong man" melodrama... Although the talented cast of Brits (including second tier ingénue Marguerite Chapman and Raymond Huntley as an uptight manager), and a few neat surprises, will keep your interest: Especially the last ten minutes when the antagonist gets really wicked.

Another film watched for context on the "House of Hammer" podcast, "The Last Page" or "Man Bait" as it was retitled is, alas another forgettable noiry thriller, that Hammer seemed to be in the habit of making at the time. Ironically, despite having two goes at it, neither title is particularly appropriate for the film, which was an early one for English screen siren Diana Dors.

Ruby Bruce (Diana Dors) works in an upmarket London Bookshop, she meets Jeffrey Hart (Peter Reynolds) a recently released conman and agrees to date him. Ruby's boss, John Harman (George Brent) makes an ill-conceived and aborted pass at her one evening and Hart encourages a reluctant Ruby to blackmail the married Harman. Hart's scheme escalates with disastrous consequences and Harman ends up on the run.

Again, Hammer are well out of the period when their films would suffer from poor sound and or film stock problems. This looks really good and technically is a fine effort, with multiple sets and locations used. This might be the first time I've seen young Diana Dors, as opposed to the somewhat parodic character she was in the seventies and I thought she was really good. Indeed, I thought that the second half of the film, in which she features less was markedly worse for it.

I don't think George Brent ever really convinces, particularly when the film becomes more action oriented ahead of one of the most abrupt endings I've seen in quite a while. Ultimately it really struggled to hold my attention though, and I kept finding that I had been distracted by something and forced to rewind it to see what happened.

Not the worst film I've watched for this podcast, not by a long way, but not one I'll see the need to revisit either.

Alternate Titles..."The Last Page (UK)..."Man Bait" (US)

Britain's "Hammer Studios", had been around since the 30's Before Striking Gold with "The Curse of Frankenstein" (1957) Producing Enjoyable Movies in Most Genres, Turning Frequently to Crime-Noir During the Zeitgeist. This is One of Them.

Directed by Hammer's Most Prolific, Terence Fisher, who Helmed All the Iconic Neo-Classic "Monster-Movie" Origin Stories from the Studio.

A Bitter-Sweet Diana Dors is a Bonus in this Fast-Moving Dark Story, Providing a Central "Figure" that is a Wow of a Look and Performance that is Top-Notch.

Announced in the Titles as "Introducing" is a Misnomer, having Acted in Over a Dozen Movies Prior. But Hey, this is Show-Biz where Almost Anything Goes.

She Competes with Peter Reynolds to "Steal the Show" and the Competition is Strong Because Reynolds Antagonist is a Villainous "Piece of Work" with No Scruples and is Completely Despicable.

Also On Hand with Good Performances All Around...Aging American Stalwart George Brent (a favorite Muse of Bett Davis)...and Margarete Chapman as the "Good Girl".

Above Average for the Studio Output During the Era

If it's a "Hammer Film", it's...

Worth a Watch.