User reviews

I saw this under the title of "3 Steps to the Gallows". A better title would have been "3 Days to the Gallows," since when American seaman Scott Brady arrives in London and goes in search of his brother he finds the latter is due to be executed in three days' time for murder: he's innocent, of course. The film's scriptwriter plays the brother, and he's definitely a better writer than actor, seeming remarkably calm for someone facing imminent death for something he didn't do. John Gilling made several low-budget crime films in the 50s, and seeing this one made me want to see the others.The plot has some good twists, and there's a lot of interesting location filming. It was common practice to import minor American stars for such films, and Brady made a spirited hero, while Mary Castle, who I'd never seen before, bears a considerable resemblance to Rita Hayworth. She even sings in a nightclub, a la Gilda. The weaknesses are the way Brady wins all his fist fights (even against a professional boxer!) and the climax, in which the police turn up like the 7th Cavalry even though they had no way of knowing where the protagonists were. Very odd.

AKA..."3 Steps to the Gallows"

Scott Brady Travels to England to Beef Up Film-Noir.

Brady (brother of Lawrence Tierney) Goes Ashore to Meet His Brother and Finds He has been Convicted of Murder and will Hang in 4 Days.

What Transpires is Brady vs a British Mob of Smugglers and Tough-Guys.

The Goons can Barely Fill a Trench-Coat and are Constantly Attacking Him in Gangs.

One Fight or Chase Ends and Almost Immediately Another Takes Place.

The Movie, very Unusual for B-Movies, is Shot Predominately On-Locations.

A Difficult Task at Best.

The Story Involves a Night-Club Singer, a Rita Hayworth Look-Alike (Mary Castle) along with the Brothers Former Friends and Acquaintances.

A Wise-Cracking Boxer (John Blythe) and the Brother's Lawyer (Colin Tapley), Secretary (Gabrielle Brune), and Night-Club Owner (Lloyd Lamble).

It's a Complicated Plot.

One has No Time to be Concerned with such Twists and Turns because the Film Won't let You Catch Your Breath.

It's One of the Most Active British Noirs.

With a Hyper-Pace Anchored by Brady's Physical Presence and Persistence.

Also, the Beautiful Mary Castle Eventually Decides to Help and is an Attractive Companion.

Breathless Action and a Bewildering Plot.

Combine for an Entertaining 80 Minute Noir that Incorporates Many Night-Scenes and Shadows.

For an Ominous and Threatening Tone.

One of the Better Late Noirs from Britain and is Definitely...

Worth a Watch.

Hats off to the director, John Gilling, who delivers a fast moving, action packed movie, which has a film 'noir' dimension about it. The storyline revolves around a American naval officer, Gregor Stevens, played by Scott Brady, who is on shore leave, where he hopes to meet up with his brother, but to his horror, his brother is in prison, convicted of murder, and has three days left before he will be hanged. The muscular and athletic Brady now begins to take matters into his own hands to see if he can find out as to the actual circumstances, which has led to his brother languishing in a cell, waiting to be executed. Our hero, turned sleuth, gives an energetic and powerful performance as a 'man on a mission,' where he confronts not only several shady nightclub operators and thugs, but also the blond, sultry and deliciously beautiful Yvonne, played by Mary Castle, the resident nightclub singer. Brady has plenty of opportunity to show his physical and athletic prowess in a number of scenes where he has to chase, as well as evade several underworld henchmen, who wish to 'terminate' his interest in his hunt to find out the truth. Brady's frantic investigations, where he's diving in and out of taxis and cars, also sees him confronting some very unsavoury characters, such as 'Sartago,' the smooth and suave nightclub manager, wonderfully played by Ferdy Mayne, as well as from John Blythe, who gives a convincing performance playing the cheerful and breezy cockney boxer, Dave Leary. There are many dramatic twists and turns in this fast moving storyline, which ends with a thrilling 'Hitchcockian'' climax around Olympia in London. Although the finale is a bit far fetched, the director and the cameraman should be congratulated for creating an entertaining and riveting film, where many of the action scenes have a sense of gritty realism, set against the backdrop of London in the early 1950's. Normally, these type of quick quota B films, which were made in the 50's, with an American lead actor, were mediocre 'time fillers,' shown before the main feature, but the pacy storyline and the strong acting performances by the two main protagonists, Brady and Castle, puts this on a much higher level.

Scott Brady is a military man who learns that his brother is about to be hanged in "Three Steps to the Gallows" from 1953.

Brady is Gregor Stevens who arrives in London planning on visiting with his brother. His brother, however, was convicted of murder in will be executed in three days.

This doesn't give Gregor much time to find out what happened and hopefully clear his brother. He finds himself involved with smugglers but gets some help from Yvonne Durante (Mary Castle) a nightclub singer. It's risky business because these are diamond smugglers who will stop at nothing to silence anyone they think might talk.

A lot of action in this one, as Brady is constantly getting into fights. One funny part occurs when a secretary (Genevieve Brune) introduces herself as a school friend of Yvonne's. Since they were 19 years apart in age, that must have been some school.

Ferdy Mayne and Michael Balfour do excellent jobs supporting Brady, one of many American actors who made British films in the '50s. Scott Brady at that time was something of a matinee idol, though low level. He later went into character work and worked into the '80s, dying in 1985.

Most of these films starring Americans are B level, but I usually enjoy them, especially the Hammer films, of which this is one. Not the horror ones though.

Scott Brady is a merchant mariner who gets off ship in England to visit his brother. He finds his brother in prison, doomed to hang in three days for murder, unless Brady can make his way through a murky underworld conspiracy that involves smuggled diamonds.

I find it interesting, the number of British programmers that begin with a sailor of some sort making port, hoping to see a relative, and discovering he is in jail or dead. It's a nice technique for plopping the protagonist down in a plot in a new situation, forcing him to deal not only with the plot, but the part of society he's caught up in. Usually it's a guy; Howard Hawks liked to use the situation with a woman coming into a tight-knit community of men -- Jean Arthur in ONLY ANGELS HAVE WINGS; Angie Dickinson in RIO BRAVO are two of those movies. However, in those movies, it's the exploration of that society that is the point of the movie; sure, there's a plot, but what it turns into is a story about bonding.

Brady is good in the role, and the story is well told, but while the mystery aspect is good, it's a decent programmer, and little more... which is fine.

As we all know, starting in the early 1950s American mid-level 'name' actors and actresses started to find films harder to come by here, and any number of them ventured to England to make starring vehicles that might have an international market based on their marquee names. George Raft did it, as did Dane Clark, George Brent, Hillary Brooke, Lloyd Bridges, and many others. Scott Brady did, too. Most of these were released through Lippert and enjoyed reasonable success, and almost all of them are eminently forgettable. Not this one, though.

This is actually a very fast-moving and action-packed thriller, with enough mysteries woven into it for two films. Brady plays a seaman who arrives in England to enjoy some time with his brother, only to learn that his brother is due to be hanged for murder a scant three days hence. Brady's rush investigation to clear him involves many characters (every one of whom is acted, as is the British wont, like it was Academy Awards time), and there are wheels within wheels within wheels. Indeed, by the time the film ends, you realize you've been subjected to more twists than most Agatha Christie novels provide, but you accept them because they are well-presented, well-written and well-acted. Unlike most such British films with an American actor 'hook', this one is slam-bang all the way, and one particular fistfight that Brady has (there are several) with a nightclub owner and three or four henchmen goes from that manager's office, through a hallway, out into the nightclub and then onto the dance floor itself. (It's kind of like a shorter fisticuffs version of the concluding SCARAMOUCHE duel.)What makes it so impressive is that Brady is doing all his own fighting and stunts and looks terrific doing so. In fact, I'd go so far as to say that this is the best starring performance I have ever seen out of Lawrence Tierney's younger brother, and he was always a decent (or better) actor, although never a major star. The female interest is provided by another American temporary ex-pat, Mary Castle, as a woman of some mystery and much beauty. (In fact, in every shot she appears in, she looks enough like a blonde Rita Hayworth to be her illegitimate sister.) The film seems to involve just about constant location shooting, in boxing arenas, gyms, restaurants, foggy-but-real streets, back alleys, and finally at some kind of big British exposition or fair, and the photography is grainy, noirish, and just plain terrific most of the time. If it is all wrapped up a little too tidily in the end, well, we never complain when Dame Agatha does the same.

I give it a high 8 rating because of the pure look of the film, the very realistic physicality of it all, the terrific character actors on display throughout, and mainly I guess, because it seems to me the very best of the dozens of such British semi-quota quickies that brought over American mid-level stars for a one-film-stand in London. Given what it was intended to be, and the somewhat brutish elan with which its intentions are accomplished, this is a very considerable achievement.

In the 1950s and 60s, many American actors went to Europe to star in their films. Most of these were second and third-tier actors...and in the case of "3 Steps to the Gallows", third-tier American actor Scott Brady stars in this British mystery/suspense film.

When the story begins, Gregor (Brady) arrives in London to see his brother. Surprisingly, however, he learns that while he was off at sea, his brother was convicted of murder is will be executed within a few days! Not surprisingly, Gregor investigates on his own to see what he can uncover...and he discovers a vast conspiracy. What's next? See the film.

I had to chuckle at this film a bit. After all, do the Brits see Americans as being like Brady?! In the film, is character investigates mostly by beating up people! And, he's apparently very good at it!! So, it's not like this is the most complex or nuanced character! Overall, mildly entertaining if not a bit mindless.

What starts out as a fairly straightforward thriller seems to become more and more complex as the film wears on.This is born out by the fact that at the end one of the characters had actually to explain the whys and wherefores,by which time I had,as you might say,lost the plot.To me though the most interesting aspect of this film was the considerable amount of location work.The trade fair at Olympia.Some of the crowd seemed quite irritated at being pushed around by the actors ,it makes you wonder if they knew that they were being filmed.Interesting to see that the first shots of the trade fair were on the film projector stands.Those dear machines which went extinct as long ago as 2012.So basically a fairly routine film.

As some other reviewers have mentioned, THREE STEPS TO THE GALLOWS is a highly superior British film noir which doesn't let up from beginning to end. A twisty turny mystery style plot line throws up some familiar tropes - it seems half of British crime films made during the 1950s consisted of criminal enterprises utilising nightclubs as their lairs - but runs away with them thanks to a fast pacing and a complete refusal to deviate from the thriller aspects of the storyline.

American actor Scott Brady plays a sailor who gets some shore leave to visit his brother, only to discover that he's disappeared. He soon uncovers a sinister, conspiracy-style mystery that will lead to his brother's imminent execution, so it's a race against time to prove his innocence. Along the way he tangles with femme fatales, dogged detectives, and various henchmen, often slugging it out with the latter in some engaging fight scenes.

Brady is a slightly boring main actor but the supporting cast make up for deficiencies, with Ferdy Mayne and Michael Balfour on particularly strong form. Ballard Berkeley plays a cop and must have been one of the most typecast actors of the era. Director John Gilling, who would later direct the likes of THE REPTILE for Hammer, does a sterling job, but the real star here is Welshman Paul Erickson, whose debut script is never less than compelling.

The course of events fits together a little too neatly to avoid feeling contrived, especially as the film maintains a steady pace. Yet these are the only concrete faults that readily come to mind for a picture that quietly joins the good company of other crime thrillers from the 40s and 50s. The cast turn in able performances of spirit, poise, and suitable nuance; Stanley Black's score capably imparts the drama of the scenario; the costume design is sharp and sound. It's no revelation, and you don't necessarily need to go out of your way for it, but 'White Fire,' or 'Three steps to the gallows,' is solid and enjoyable all the same.

Scott Brady and Mary Castle carry worthy personality in the chief roles of Gregor and Yvonne, and fine as all involved are, Ferdy Mayne is rather distinct and underhandedly imposing as wily club owner Sartago. Otherwise, it's the screenplay concocted between director John Gilling and co-writer Paul Erickson that's most noteworthy here. Again, the narrative is a bit too orderly for its own good - however, it's nonetheless complete and cohesive, and sufficiently engaging to keep our attention. There's some snappy cleverness in some of the dialogue, and the characterizations - if not the most complex in the world - bear enough depth to keep each passing moment varied and dynamic. Personally, for what it's worth I think it's the scene writing that stands out the most here; if the composite is a little too perfect, in both conjuration and realization each scene is tight and robust, whether it's dialogue that's most prevalent or action. "Thrilling" is maybe too charged a word, but whatever we're treated to from one instance to the next, we reliably get a sense of excitement deserving of our commitment.

If my words seem a bit noncommittal or blase, this isn't to say that 'White Fire' is bad. Far from it! I quite like it, and was pleased to watch from start to finish. Every component is rather sturdy, from writing and direction to acting and stunts. It's just that in addition to the unmistakable tidiness of the plot through to the very end, overall the movie simply isn't remarkable enough to particularly make an impression, or rise above a crowded field. Just as casually as the picture concludes, thusly casual too is the entertainment the picture provides. But who's to say that every piece of cinema has to be deeply profound? These 82 minutes serve up a good time, a fair diversion - and sometimes that's all a movie needs to be.

A good British Movie with loadsa twists & turns. It's a 'Big Brother', 'Miscarriages of Justice' case, where 'Little Brother' is a few days away from being executed for a crime he didn't commit. Luckily it's a movie, so no harm done, but... it makes you wonder how many real life present day Miscarriages of Justice cases there are, and if past cases ever get an apology when the truth prevails.

Certainly one of John Gilling's better efforts, this enjoyable crime drama. An American merchant sailor (Scott Brady) arrives in London to look for his brother, only to discover that he has been convicted of murder and is just three days away from the hangmen's noose. Together with Mary Castle, a night-club singer he encounters they both decide to get to the truth - despite the risks from an unscrupulous gang of diamond smugglers. The plot is a little more complex that we'd expect from a B-movie like this, and much of it is shot out of the studio - lending it quite a bit of authenticity. The script isn't great; and the fisticuffs (and there are plenty) are just way too theatrical but it's a good all-round effort.

Gregor Stevens (Scott Brady) has 4 days shore leave. He goes to visit his brother but cannot find him. A meeting with Yvonne (Mary Castle), a boxing fan (Michael Balfour) and a visit to the "Gay Mask" nightclub give him an avenue to pursue in the circumstances that are unfolding before him. Gregor must solve the mystery before he goes back to his ship.........and, more importantly, before a hanging takes place.....

It's a fast-paced film that gets going from the beginning. It's well acted by all and has many twists to the plot. It is just on the right side of complicated.

Its a good film to keep onto and watch again.

Excellent British Film Noir "3 Steps to the Gallows" follows American Sailor Scott Brady trying to visit and then just locate his brother while docked in London. Mary Castle as the lounge singer at the Gay Mask club gives this film an extraordinary aura. Her abbreviated performance of "There's No Way Out" paves the way for Brady to commence making contact with all of the characters involved in the plot. Pay attention - no one is above suspicion. Brady is more than a bit of a bull in a china shop but the rest of the cast is more subtly believable. This moves along at a good pace with no dead time. Worth seeking out.

A slick little thriller full of twists and turns superbly shot on location by co-producer Monty Berman that makes early fifties London look like a thrilling den of deception and intrigue.

I should have liked to have seen more of Gabrielle Brune as a shady lady pivotal to the plot but usually offscreen; while towards the end of an eventful narrative Trinidad-born Harcourt Curaçao (billed as 'Harcourt Nicholls') suddenly enters the fray as a resourceful and athletic helpmate to the hero.

Scott Brady plays a ship's officer.

He arrives in England and gets another officer to take his duties for a few days.

He wants to spend some time with his brother.

He discovers his brother is about to be hanged!

Scott Brady then launches his own investigation.

This flick has more twists and turns than a mud road in West Virginia!

The hero is lied to, thumped on, set up, betrayed, etc.

He also falls in love.

This is one terrific flick.

I gave it a ten.

An American lands in England and immediately gets into trouble, because he can't keep his fists to himself. He comes to visit his brother without knowing that his brother is going to hang for murder in three days. Of course he is innocent, but only the American brother is convinced of that and find it impossible to convince anyone else, except a night club singer, who eventually joins him on his quest to sort things out. Her father in Paris appears to have had something to do with the murder, and he also joins up in London sticking out his neck for all the involved hoodlums to chase him down as best as they could. There is another lady involved also, and it eventually becomes evident that it is all about smuggling diamonds, a terrible racket, for which apparently any human life is worth sacrificing. A certain James Smith turns up from nowhere crowning the mysteries by disappearing without leaving a trace behind, and we never learn anything more about him, although he seems to be the key character who really does something about the mess of all these mysteries. Eventually it proves that even the criminal inspector has known everything about the whole muddle all the time, but he wanted to lure out the big rat. The big rat of course when he finally is check mate wants to kill himself, but like so many murder attempts in this film, also that attempt fails. Eventually, the impossible equation of all these mysteries is finally solved, but the audience will find it a hard brainstorm to get head or tail out of this entangled confusion of constantly furious and desperate action.

This film is very good to watch as it has quite believable characters with good acting and incidents. It shows Britain on sunny days with excellent outside photography in the boat section of a British Industry Fair. They write off a lovely big American woodie in a crash. It is quite worth watching.

When burly American sailor Gregor takes weekend shore leave, his initial itinerary of meeting up with his estranged brother Dave (John Blythe)is scuppered by forces malign, as he very soon discovers that his beleaguered brother currently languishes in a dank jail cell accused of first degree murder! Supremely talented Hammer Films Alumnus John 'Plague of the Zombies' Gilling has expertly crafted a durable, highly-burnished jewel of an audaciously full throttle Brit-Noir, as the splendidly pugnacious Gregor busily attempts to utilise his considerable pugilistic prowess to use in order to boisterously unravel the labyrinthine mystery of the recently stolen diamonds, but discovering the identity of the real murderer might, perhaps, be better suited to someone blessed with more guile and less brawn, as the altogether nefarious villains James Smith (Lloyd Lamble) and the especially duplicitous Sartago (Ferdy Mayne) seem to remain 3 steps ahead of the increasingly baffled Gregor, and as his poor brother steps ever closer to the darkly looming gallows stalwart writer/director John Gilling keeps this dazzling thriller motivating at a delirious pace right until the tremendously exciting, twist-laden climax!

It might just be argued that 'Three Steps to the Gallows' is one of the more immediately entertaining British film Noirs of the period, and the immersive narrative is given additional lustre by the luminous presence of Mary Castle as the vivacious Yvonne Durante, sultry nightclub chanteuse by night, and slinkily efficient contraband smuggler by day! High points for me include the delightfully convoluted plot and hunky Scott Brady certainly makes for an engaging, strikingly handsome, twin-fisted, justice-seeking lead!

(1953) 3 Steps to the Gallows/ White Fire MYSTERY

Co-written and directed by John Gilling that has Naval officer, Greg Stevens (Scott Brady) leaving ship to visit his brother, Larry Stevens as he is informed his crew leaving in four days. And upon visiting both the hotel Greg's brother is supposed to be staying in and his job at the travel agency as a courier, both deny his presence. But upon speaking to a young lady at the travel agency, as soon as she saw a guy she recognizes, she then changes her mind to ever knowing him. And it was at this point, he confronts the guy following him, and before he runs away, he manages to look at the matches that gives him his first lead, which is to the "Gay Mask Club". It is there he is confronted with the current owner, Marios Sartago (Ferdy Mayne). And when the owner of the club was not helping Grg with any info, he would then ask the same lady again we find out is a nightclub singer, Yvonne (Mary Castle) and she gives him a name of a boxer at a boxing ring of Dave Leary (John Blythe). It was at this point, Greg finds out his brother Larry was accused of a murder rap and that he has only three days before he is hung.

The revelations and the unforeseen twists makes this one worth watching, just when you have it all figured out. It is also nice to see that the main culprit is not killed or dies at the hands of the hero as well.

One more thriller made by John Gilling, during the early fifties with, once more, an American actor as the lead. Here, Scott Brady. The story is so predictable, that I was very bored all long the film. I think it could have been far shorter for me. The ending is so foreseeable, but the directing and settings save the whole; I mean if you follow John Gilling's career, just watch it. I warn you though, there were tons of films of this kind, with a good hero vs villains. I also mean that John Gilling has made far better films, even in this early part of career. I don't even speak later with THE CHALLENGE, PICK UP ALLEY, MAN INSIDE and I don't even speak of his famous horror and adventure films.