The Gambler and the Lady

A social-climbing American (Dane Clark) with a business in illegal gambling falls in love with a blue blood (Naomi Chance), but gangsters and a jealous ex-girlfriend (Kathleen Byron) stand in the way of happiness.

"The Gambler and the Lady" is a typically weak attempt by the Hammer studio to replicate American crime films. A mildly exciting climax (part of which is shown at the beginning) is the only thing that livens up this dull affair. I would have liked to see more of Percy Marmont, who was so good as Col. Burgoyne in Alfred Hitchcock's "Young and Innocent." Here he only gets a brief part as Chance's father.

In 1950, American producer Robert Lippert formed a business alliance with Hammer studios. Under the agreement, Lippert would provide American acting talent - frequently shop-worn stars or just supporting actors who fancied a profitable trip out of the country - while Hammer would supply the rest of the cast and the production facilities. Together they would split the profits. Famous for his concern with the bottom line, Lippert produced over 140 films between 1946 and 1955, characteristically genre pieces such as I Shot Jesse James or Rocketship XM. For the British deal, most of the films were noir-ish thrillers - and include this title.

Dane Clark, who appeared in several of these productions, plays the doomed gambler in question: a self made man, running a profitable London set up into which rudely intrudes his aspirational love life and the aggressive ambitions of some Italian gangster interlopers. His social climbing ultimately proves the straw that breaks the camel's back. Many of the British noirs interestingly import class considerations into the dramatic mix, concerns that are usually absent in the American model, and they are seen most strongly in this title. The gambler's end is ultimately determined by the suckering in of social mobility as much as the machinations of fate - but not before there is some effective sniping at the rudeness and untrustworthiness of the British ruling classes. Clark cuts a suitably doomed and somewhat pathetic figure as he struggle to gain acceptance.

THE GAMBLER AND THE LADY (1952) is one of Hammer's earlier noirs, so heavily based on Hollywood films from the 1940s that it feels more American than British. Short-but-powerful Brooklyn native Dane Clark plays a guy running a gambling syndicate who gets involved with a beautiful aristocrat while at the same time tackling some thugs muscling in on his territory. Familiar stuff for sure, but this is quite a crisp and well-paced thriller, with some decent menace, solid character work, and a wraparound structure that reminded me of CARLITO'S WAY. Kathleen Byron and Eric Pohlmann are among the supporting players.

After being unable to find the last couple films covered by the "House of Hammer" podcast, Youtube finally came up trumps again with this 1952 crime thriller "The Gambler and the Lady". Whilst I ultimately found this one to be a bit inconsequential, I can't say I didn't enjoy the ride whilst we were on it.

An American gangster, Jim Forster (Dane Clark) has set up a small gambling establishment in London. He looks to leave the violence of his past behind and harbours dreams of interacting with the higher echelons of English society. His entry point to this is Lord Peter Willens (Anthony Forwood) - who introduced Forster to his friends and his sister Susan (Naomi Chance), whom quickly becomes his friend. Forster's problems begin though when an Italian mob, who have no qualms about using violence, approach to buy him out.

So, whilst the film was panning out, I quite enjoyed it. I thought Dane Clark was an engaging lead, and another in a long line of American guest starring in these pictures as Hammer made their ties with American studios, this time with Robert Lippert's studio. It's almost a comedy of manners in the early part, as the American employs an elderly woman to teach him dinner etiquette, whist his long-term friends look on bemused. Indeed, the scene when Forster is openly mocked by The Willens friends is straight out of any "fish out of water" comedy you may care to see.

It changes when the Italians arrived and becomes more much of a Gangster thriller before the settling of a couple of old grudges brings us to the conclusion. I have to admit, I was a bit underwhelmed by that conclusion. I felt it could have gone for a touch more tragic, or much happier and been OK, but it almost downplays its own ending.

So a good central performance and a decent film, up until that slightly soft ending.

The Gambler and the Lady is directed by Patrick Jenkins and Sam Newfield, the latter of which also writing the screenplay. It stars Dane Clark, Kathleen Byron, Naomi Chance, Meredith Edwards, Anthony Forwood and Eric Pohlmann. Music is by Ivor Stanley and cinematography by Walter J. Harvey.

Clark plays Jim Forster, an ex-con and reformed alcoholic who is trying to climb the social ladder by way of his thriving gambling business. But all that is threatened when new gangsters on the scene want in on the action. Not only that but he also has a jealous ex-girlfriend to contend with just as he meets and falls for the blue blooded Lady Susan Willens (Chance).

On the page it sounds terrific, a real chance for some noir nirvana, while the opening to the film is a cracker, with a moody night time cobbled street scene punctured by a hit and run collision. Yet the piece never rises above the routine crime thriller that it is, while visually it's flat and uninteresting.

Out of Hammer Film Productions, there's an attempt at class distinction to drive the narrative forward, but it never really develops into something resembling dramatic worth. A shame because Jim Forster is an interesting enough character, he has done time for manslaughter, has anger issues but now he hates the rough stuff, even admonishing his staff for handing out bumps to bad debtors. And the women love him as well. Yet it's all so lethargically played that come the finale, the culmination of the dangled carrot at the beginning, you will struggle to care anyway. 5/10