The Assassin

The Assassin (1952)

What distinguishes this movie is the setting--Venice, in the 1950s. There are some other famous movies set in this town in this time (the moody 1955 "Summertime"), and somehow this one feels the most authentic, not romanticized to pieces but still an appreciative take on it.

Of course, you'd rather have your movie succeed because of its plot and acting, and this one isn't bad--I'd watch it if you like this kind of low budget black and white Euro-noir. (This is a British B-movie.)

As much as murder, and the machinations of post-war Italy, are the backdrop, this is a very talky movie, to the point of being both redundant and at times confusing. It's dramatic in its progression of mysteries, and in the many night or dark interior scenes, barely lit. It's dripping in art history throughout, both as backdrop and as a growing part of the theme (one of the main mysterious characters is an artist) and this is terrific.

Because the plot is one conversation after another, all rather undramatic in its delivery, it depends on its actors rather a lot, and the leading man (Richard Todd) in particular is serious but straining the whole way. The story and screenplay are by Victor Channing, who was a best selling British author in his day, and it feels like best seller stuff, thinly conceived. There are bit actors doing their best, and there is an authenticity implied by all of the settings and period sets fairly contemporary to the filming. But the deadened script undermines a visually emphatic movie. Watch with some patience left over.

Or watch for Venice. There really is a lot in store in this aspect (though some of the interiors were apparently shot in Veneto, which is the province nearby. Toward the end is a large procession on the grand canal, pretty neat if you like that kind of thing. As the assassin, an artist at heart, says as he is ready to commit his crime, "I should have a pencil, not a gun." And you know, the last five minutes is amazing filming (and sound!), with Hitchcockian overtones, worth seeing no matter what you think of the rest of it.

Private Investigator Edward Mercer (Richard Todd) saves a man from being murdered. Before he can talk to him, he slips away.

Enter Adriana Medova (Eva Bartok), who may have information about the man. Mercer soon finds himself caught up in a web of mystery, deception, and murder.

THE ASSASSIN is a semi-dark, moody thriller that saves most of its thrills for the big finale. Todd is convincing in his role, as is Ms. Bartok, playing a conflicted character that would have suited the likes of Ingrid Bergman.

Recommended for lovers of conspiracies and political intrigue...

Set in the short years after WW2 there is mystery and political intrigue as a private detective tries to discover the whereabouts of an Italian and reward him for his part in the rescue of an allied airman during the war.

This is an excellent early 50s murder mystery thriller set in Venice with some great set pieces and beautiful and at times striking on location photography...much better than the overrated Venice filmed in "Don't Look Back".

Great mood - a marrying of post war paranoia ( Venice is close to the then disputed city of Trieste - between the West and communist Yugoslavia) and political intrigue which reflected the chaotic state of Italian politics at the time.

Ralph Thomas ( brother of Gerald of Carry On fame and who edited this film) made his fame with the "Doctor" comedy films starring Dirk Bogarde and Iron Petticoat with Bob Hope and Katharine Hepburn but he also made quite a few well above average middle budget suspense / drama films - Campbell's Kingdom (1957), Checkpoint (1956), Above Us the Waves (1955), Appointment with Venus (1951), The Clouded Yellow (1951), of which this is one of the best. The climactic chase is excellent.

Good performance from the ever reliable Richard Todd and a nifty small role for Sid James.Excellent music by Nino Rota ( Godfather, La Strada, La Dolce Vita, 8 1/2) also.

A underrated gem.

This film, although not as well-crafted as THE THIRD MAN or THE MAN BETWEEN, is definitely in their league; it's a taut, post-war mystery in which a European city (in this case, Venice) is one of the most important characters. The main human character, Edward Mercer (Richard Todd), is a Hitchcockian protagonist: a man trying to prove his innocence in ever more dire circumstances.

The plot does get convoluted at times, but director Ralph Thomas always keeps your eyes interested with wonderful location shots. The cast is solid, and Sid James is given a rare dramatic role. The ending, also with Hitchcockian overtones, is thrilling and a fine bit of camera work and direction. (May I recommend that after you finish the film, go back and watch the first few minutes again. You'll see how cleverly the motifs of the film are tied together.)

PI Richard Todd comes to Venice to locate a man who rescued an American flyer during the Second World War; there's a reward for him. It turns out he's dead.

Except that people take a lot of interest in Todd when the bleeding man who came to him saying he knew how to find the dead man, turns up dead himself. After Todd explains himself to local Chief of Police George Coulouris, Todd goes hunting for the dead man, and finds clues. It all leads up to the man's widow, a local nobleman, and a assassination.

It's certainly competently written and performed, but the real star of this movie by Ralph Thomas -- who was about to make his bones with DOCTOR IN THE HOUSE -- is the city of Venice, shot in its black-and-white glory by Ernest Steward. Steward had become a regular DP the previous year, and would stick with Thomas for a few years; this would lead him into the mirthful more of the Carry On films, and along career in which he was never able to distinguish himself again. Ah, well. Sometimes a steady job is better than fading glory.