Circle of Danger

Ray Milland (born in Neath, Glamorgan, Wales) keeps his transatlantic accent playing an American searching for the reason for his brother's death during a commando raid attached to the British army in 1940 (before America entered the war) in Brittany, France.Ray leaves his diving team searching for precious metal off the coast of Tampa, Florida, takes his share of the profits to date and travels to the UK in his aforementioned quest.Along the way he meets up with the few surviving members of the commando team travelling to Covent Garden, London; Teddington Lock on the Thames; Hammersmith west London; and up into the Scottish Highlands where he meets Patricia Roc a children's book authoress and illustrator.Her character seems to blow hot and cold with Ray but at least she does not have to compete for Ray's attention with Margaret Lockwood (who was busy filming elsewhere).Also there, is Hamish (Hugh Sinclar) who was the commanding officer in the raid and who loves Patricia Roc's character (although she only likes him).Ray even buys a used car off wide boy Naunton Wayne (who for once is without his screen companion Basil Radford) in return for information - at least it saves Ray having to "cadge" lifts.

Marius Goring plays a sinister character who since the war end has gone into producing ballet (and I am sure he got the role after playing the composer in Powell & Pressburger's acclaimed " The Red Shoes" (1948).The director, Jacques Tourneur is most notable in my collection for "Out of the Past"(1947) and "Experiment Perilous" (1944) and here directs an exciting "whodunnit" which takes Ray back & forth as he gradually unravels the truth.As another reviewer has stated we get to see some good locational shots which makes a change from hidebound studio interiors.Another curious thing is there is no noticeable mood music in the film.The final scene is unexpected and you are led down several blind alleys first.Enjoyable, I rated it 7/10.

Jacques Tourneur directed this postwar British mystery film very well, and the cinematography by Ossie Morris and camera operating by Arthur Ibbetson were superior, and added to the film's atmosphere considerably. Ray Milland is the lead actor, playing an American who visits England and wants to find out how and why his younger brother had died during the War. The brother (not seen in the film) had joined up as a British commando in 1940 and was mysteriously killed on a commando raid 'with not a German in sight'. Was he murdered by a comrade? Milland sets about visiting in turn all of the 12 men of the commando unit, only to discover that many of them are dead and one died only two weeks before his arrival in England after suggesting that the brother had been a murder victim. One of the surviving men is an East End wide boy played by Naunton Wayne, who is usually a bumbling gent but on this occasion is a convincing used car salesman. His girl friend 'Bubbles' who even does a singing number is played by the ever-effervescent Dora Bryan. A deeply sinister performance is contributed by Marius Goring, as a gay ballet dancer who knows how to handle a gun and whose role in the story only becomes clear at the end. Patricia Roc is the love interest, who alternates between being bouncy and adorable and being the most horrible spoilt brat who pouts if kept waiting for a few minutes and accuses Milland of not being dressed properly when he is in a mere suit and tie (she snottily points out that he has 'ruined her evening' because he hasn't had time to change into black tie). She really needed several good spankings, but does not get one, unfortunately. Milland is very effective in this mysterious tale, exerting extraordinary self-control in the face of extreme provocation from the uncommunicative and rude former comrades of his brother. There are some fine shots of the Scottish highlands as Milland pursues the truth north of the border, where the whistling of a folk tune called 'White Heather' takes on significance in terms of identifying the killer. This is a fine film without pretensions, where the intrigue is unravelled like a thread and leads Milland to strange discoveries about what really happened.

Confidently directed by Jacques Tourneur and ably portrayed by a fine cast, "Circle of Danger" is a relatively unknown film that is worth finding if you can (maybe through CD purchase or on TV). You won't regret looking it up.

Ray Milland is the perfect choice as an American who efforts to discover exactly what happened to his brother in WWII. Not an easy task to discover details about a death during a commando raid, obviously a chaotic and deliberately secret event by nature. Although the American's motivations remain a bit fuzzy to everyone, he is doggedly determined. The result is an ending resolution that I found to be rewarding and finely done.

The radiant Patricia Roc portrays a young woman who tries to balance career and emotional involvements with as much wisdom as possible in view of fast-moving and evolving events. Marius Goring ("The Red Shoes") expertly essays a complex character with style and aplomb. Former movie "Saint" Hugh Sinclair is solid as a rock and excellent in his portrayal of a truly selfless aristocrat. All of the characters in this film are conveyed with some depth, surprisingly so for a modestly made sort of movie.

1950 Britain is really featured throughout the film and nostalgically captured in black and white which seems somehow appropriate for the date and era.

They just don't make them like this anymore- so you will feel lucky to have found "Circle of Danger".

This is a tricky post war drama, when an American comes to England to investigate how his brother really died in the war, being a single casualty at an incident. His family has Scottish roots, his name being Douglas, so there is a great deal of Scotland in this, and although it's all about the second world war, the entire drama takes place in Britain, especially Scotland. The last scene on the Scottish moors is extremely sharp in its concentration on an extreme moral dilemma that the soldiers of the relevant company found themselves in and had to resolve in a painful way. The script is brilliant and extremely interesting, as the investigation goes on probing deeper and deeper into a mystery that refuses to be unfolded, until Marius Goring intervenes and provides the releasing contribution. It's actually a chamber drama, it's all dialogue and discussions, and the romance seems beside the point, although it is well captured and plays some important part, especially by constantly encountering new crises. Ray Milland is always good, Hugh Sinclair plays a difficult part but is the right man for the job, while Patricia Roc contrasts well to the austerity of the drama by her beauty and obstinacy to Ray Milland's devious manoeuvres. It's an unusual film more made for thought and consideration than for enjoyment.

This British drama directed by Jacques Tourneur threw me for a loop: for over an hour the story written by Philip MacDonald meandered, resembling the traditional shaggy-dog story, a type of movie I detest. Postponing getting to the point, with loads of tangents instead of an involving adventure.

It is initially structured just like my favorite British movie, Mike Hodges' "Get Carter", which I attended several times in 1971 when it came out, so enthralled with its style and detail. Here we have Ray Milland with a tough-guy accent/vocal delivery, travelling to UK in search of the real story behind his younger brother's death as a commando in World War II. He doggedly pursues the facts, but is repeatedly stonewalled as he approaches and interviews the fellow surviving members of his brother's squad.

Meanwhile, a romance develops between him and Patricia Roc, girlfriend of a Scottish officer he questions, replete with a "meet-cute" scene in which Roc literally accidentally bowls Ray over (physically) when they meet for the first time. The motif of him repeatedly late or standing her up for dates while he goes on his important search for answers about his bro underscores the shaggy-dog aspect of the storytelling.

Finally, in the last reel or so the movie comes to a head, with the revelation of who killed bro and why, and in a rather moving and unexpected fashion, British civility and honor creates a nonviolent and most satisfying ending.

Quite offbeat in its treatment of the thriller genre, it's another example of Tourneur's skill.