The Shadow Man

This film is included on a DVD that also has another "forgotten" Film Noir picture--SHOOT TO KILL. However, the film is called by its alternate title SHADOW MAN instead of STREET OF SHADOWS and stars Cesar Romero.

Romero stars as a man who owns a "pin-table lounge"--a place to drink, gamble and play various electronic games (such as pinball)--almost like a poor man's nightclub. He's generally a nice guy, but also a rather tough character. Oddly, for once, Romero uses a strong Spanish accent--something you usually heard less of in his American films.

When a woman is killed, Romero is caught trying to hide the body. Though he didn't do it, it sure looks bad for him. So, Romero escapes and spends the film trying to establish his innocence--a rather clichéd premise, to say the least. It's been done 1001 times before, so unfortunately, while it is well made, it's also incredibly familiar. Decent acting, decent direction and a second-rate plot--oh, and by the way, the soundtrack was really bad (it was mostly harmonica)!

FYI--Kay Kendall stars in this film. She later married Rex Harrison, though died of cancer just two years later in 1959. Also, the other film on the DVD (SHOOT TO KILL) is a more enjoyable film despite having a cast of no-name actors.

A slick little British film noir in the French style with the usual atmospheric photography (both in the studio at Merton Park and on location in Soho) by Phil Grindrod, a moody harmonica score by Eric Spear (who later wrote the theme for 'Coronation Street') and a classy female lead in the form of Kay Kendall.

Victor Maddern's pathetic, lovesick sidekick 'Limpy' presumably led to his casting as mad scientist Donald Wolfit's hunchbacked lab assistant five years later in 'Blood of the Vampire'.

Street of Shadows (AKA: Shadow Man) is directed by Richard Vernon, who also adapts the screenplay from the novel "The Creaking Chair" written by Laurence Meynell. It stars Cesar Romero, Victor Maddern, Kay Kendall, Simone Silva, John Penrose, Bill Travers and Liam Gaffney. Music is by Eric Spear, with harmonica by Tommy Reilly, and cinematography is by Phil Grindod.

A good old frame-up thriller with noir styling, Street of Shadows finds Romero as Luigi, the manager of a gaming premises in London's Soho area. When an old acquaintance of his, Angele Abbe (Silva), is found murdered in his apartment, he's naturally the chief suspect. Forced to go on the run, Luigi hopes that the police or himself can find the real culprit soon.

The story is pretty conventional stuff, with the mystery element none existent since it can only really be one person who committed the murder. However, the benefits elsewhere make this worth sampling by the film noir faithful, even if it's not what you would call essential viewing.

The whole picture is filmed in the noir style, Vernon and Grindod not missing any opportunities for a bit of shadow play or psychologically tinted contrast usage. The backdrop is a dour London of dark streets and alleyways, a dank part of the city where sordid characters go about their respective business. These people are either carrying some sort of affliction, aggressive or are emotionally stunted. An abused wife, a sexually frustrated janitor with a foot disability, card sharps, a man with huge cauliflower ears, a playboy, ladies of the night, or in the case of Luigi, someone who you really wouldn't want to count on.

Police Close Pin-Table Saloon!

Luigi's Pin-Table business is delightfully dingy, filled out with slot machines and macabre looking games such as a laughing sailor or Konki The Clown: Fortune Teller. Breezing around the place are the two gals, Angele and Barbara Gale (Kendall), getting the lads hot under the collar, while the human fortune teller Starry Darrell (Molly Hamley Clifford) is a splendid character capable of smoothing out Luigi's rough edges. Acting is good, with Maddern the stand out performer, and how nice to hear good quality Harmonica as part of a musical score. 6/10

This time it's Cesar Romero who has been drafted in to boost the box office for this otherwise rather unremarkable drama. He is "Luigi" and owns a seedy saloon that's usually frequented by petty criminals and ne'er-do-wells. One night he encounters the married, but neglected, "Barbara" (Kay Kendall) and after a whirlwind romance, they plot to elope. Before they can flee, though, his ex-girlfriend "Angelo" (Simone Silva) is found in his flat - dead as a doornail. He ropes in his rather untrustworthy pal "Limpy" (Victor Maddern) to get shot of the body, but the police intervene and both are soon facing interrogation. To be fair to Richard Vernon, the whodunit element of this thriller is kept under wraps til quite late in the day, so there is a gently accruing sense of mystery with quite a few red herrings to distract us from an ending that I quite liked. The production is really basic, though. The lighting is really in need of some extra wattage and the score is rather intrusive with enough harmonica to make an album of sea shanties. Not a film you'll remember, but it does remind of just how stylish Kendall was.

The Anglo-Amalgamated series of British crime dramas and Films Noirs that featured Hollywood actors tended to find good use for them. STREET OF SHADOWS is no exception. Cesar Romero is just fine as Luigi, a pinball (pin-table) club/bar owner in London. His faint Hispanic accent gives him a certain exotic charm and he can take charge of a scene when its required. Along for the ride are Kay Kendall, Victor Maddern and Edward Underdown, all more than capable of fulfilling their character parts. This is a fairly routine movie, but it can keep a viewer guessing and it makes use of some effective visuals. Luigi's club is realistically crowded with drinkers, gamblers and novelty machines, along with the advertised pinball ones. Most effective are several very darkly filmed sequences in which the viewer is challenged to detect what may be going on. For his role as Limpy, Maddern adopts a convincing defect in his walk and his performance is the most affecting in the film. The only problem--a small one--is the harmonica by Tommy Reilly used prominently in the score. It doesn't really jive well with the urban setting. This won't make you forget BRIGHTON ROCK or THE BIG SLEEP; it's just a very decent addition to the British crime movie lineup.