Man Bait

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.

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

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.

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.