ichapman
Joined Jan 2002
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ichapman's rating
From a 21st century perspective this film benefits from its location shooting in the Liverpool of the late 1950s. Of particular interest are the landmark Art Deco Gerard Gardens flats with their magnificent main entrance, all sadly swept away in the 1980s.
Unfortunately, little else is as noteworthy. The storyline is weak and incoherent, with the interminably drawn-out ending arriving completely out of the blue. Screenplay and much of the acting are equally unhappy, with the poor kids being landed with some particularly gruesome dialogue. Stanley Baker was a fine actor, but he had to wait for Blind Date (1959) and Hell is a City (1960) for vehicles to do his sympathetic detective role justice.
Unfortunately, little else is as noteworthy. The storyline is weak and incoherent, with the interminably drawn-out ending arriving completely out of the blue. Screenplay and much of the acting are equally unhappy, with the poor kids being landed with some particularly gruesome dialogue. Stanley Baker was a fine actor, but he had to wait for Blind Date (1959) and Hell is a City (1960) for vehicles to do his sympathetic detective role justice.
No doubt its heart is in the right place, but this is a ludicrously bad movie. We have no idea why Forrest was held in such near-universal adulation, particularly by the newspaperman O'Malley who seems to have had little difficulty seeing through Forrest's European counterparts.
The dialogue is terrible - stilted and highfalutin from the outset before heading downhill, with Tracy and Hepburn making speeches ostensibly to each other but in fact to us.
Pleasure comes late in the piece when it starts to work as unintended comedy, Christine's death being in the Little Nell class of guffaw-inducing departures.
The dialogue is terrible - stilted and highfalutin from the outset before heading downhill, with Tracy and Hepburn making speeches ostensibly to each other but in fact to us.
Pleasure comes late in the piece when it starts to work as unintended comedy, Christine's death being in the Little Nell class of guffaw-inducing departures.