Room 43

AKA..."Passport to Shame"

More Melodrama than Usual in this "Sexploitation" Cinema, Complete with the "Worn-Out" Intro by Law Enforcement (Fabian of the Yard), Making Sure Everyone Takes This as a "Public Service" and Not Something for the "Raincoat" Crowd.

Sporting a Good Cast of Herbert Lom (the Dapper Pimp), Eddie Constantine (the White Knight), and Diana Dors (Tart with a Heart).

Diana's White Skin-Tight-Clinging Dresses, Cotton-Candy Platinum Hair and Full-Lipped Makeup, High-Light the Eye-Popping Cheesecake. She Always Added some Acting-Chops.

Herbert Lom is All-Business, that being the Business of "White-Slavery-Trafficking", who Speaks in Threatening Mono-Tone, as He Frequently Steps-Aside and His Thugs Pummel Anything in His Way.

He is Also Not Above Sprinkling Acid on a Pretty-Face who Doesn't Cooperate.

Cult B-Actor Constantine is the "Love-Interest" Hunk that Rescues Oldile Versois, a French Immigrant being Groomed for the "Big-Spenders".

There's a Surreal "Drug-Induced" Segment with Swirling Fog, Collapsing Sets, Filled with High-Decibel Screams, as Hammer's William Asher, with the Help of Nicholas Roeg On Hand for some Stunning Camera-Work.

Overall, a bit Dense and Drawn-Out, and the Cab-Calvary to the Rescue is Over-the-Top.

More Intriguing than it Should be, it Remains an Above Average Film of its Type and it Definitely...

Worth a Watch.

Diana Dors was at her Marilyn Monroe like physical voluptuous peak in this 1958 film drama about prostitution in London.Playing a "tart with a heart" she is only on the game to earn enough money for plastic surgery to save her younger sister's face from a previous acid attack by her vicious pimp (played by Herbert Lom) when her sister had previously refused to go "on the game".A shining white knight appears on the scene, not on a horse but in the form of a London taxicab driver (and his loyal cab mates)- a Canadian war veteran played by Eddie Constantine.Herbert Lom deceitfully involves both the new naive blonde girl (played by French actress Odile Versois) into his group of girls for hire and the taxi cab owner into his debt.

In the light of sex & violence graphically shown in 2014 by the media, this film will seem rather tame but I'm sure it had an X certificate at British cinemas in 1958 for its adult themes.There is also a drug scene, another taboo subject at the time.For Dors fans, a companion to this film would be "Yield to the Night", aka "Blonde Sinner" the latter film loosely based on the celebrated case of Ruth Ellis the last woman to be hanged in 1955 in Britain.I voted "Passport to Shame" 6/10 as I felt "Blonde Sinner" had slightly the stronger story line and better production values.

What a wonderful surprise! I was hopeful but not particularly expectant of good things here but it seemed worth a look with a warning preface from 'Fabian of the Yard', a starring role for Herbert Lom and appearances from Diana Dors and Eddie Constantine. In the event this turns out very well, nothing like as scandalous today as it would have been back in the late 50s but still fairly tough and uncompromising. Constantine, a veteran of 'B' pictures whose real claim to fame would come a few years later when Goddard would utilise his rugged looks in Alphaville plays an heroic taxi cab driver against Herbert Lom who plays the baddest of men in charge of a vice ring. Both men are particularly effective and the film, directed and lit like a noir, serves them both well. Also served well is Diana Does, her magnificent full on appearance at the start and the comment about belonging in the gutter as she smiles makes it see she may be limited to this wondrous cameo but no, she puts in a great performance throughout, the seeming excess of make-up probably more down to the fantastic clarity of the new Blu-ray. Vivid but hard to identify west London location predominate with most seeming in the Bayswater area. There is one particular scene, very unusual in British films, showing a whole area of a smart looking street with numerous ladies of the night arranged about and approaching passers by and a close-up of an ultra smart looking Whiteleys of Queensway. The seeming romantic interludes are probably a little overdone but from start to finish this is a fast moving and, if not as exploitative as suggested, certainly more lurid than might have been expected for a 60+ year old film shot on the streets of London and Walton on Thames.

Diana Dors was stunning. Tight sheath dresses, a pretty face and cotton white hair. She didn't have to act. All she had to do is show up with an attitude, "I am here. Be grateful."

The movie doesn't need a plot. You'll be too busy staring at Diana and wondering how she got a comb through that dry, bleached hair.

She plays an entertainer.

"What does an entertainer do?" "I entertain."

An incredible piece of social history lit in gothic black & white by Hammer maestro Jack Asher anticipating how Christine Keeler and Mandy Rice-Davies started a couple of years later. Following an introduction from behind a desk by Fabian of the Yard sternly warning us that it deals frankly with a pressing social evil, Ken Jones' trashy jazz score kicks in and the fun starts as weary old procuress Brenda De Banzie and jaded pro Diana Dors draw innocent young Odile Versois into Herbert Lom's web of sin (including a marijuana-induced dream sequence worthy of silent DeMille) in order to pay for his Saville Row suits.

It's probably just coincidence that the finale resembles Ken Loach's 'Looking for Eric' fifty years later. And director Alvin Rakoff carelessly permits an egregious line misreading by Joan Sims, who combines into one sentence the second and third sentences of what was evidently meant to be delivered as "Are you kidding? With Mike there? He'd sooner fight than have his breakfast!"

But compared to the sort of thing camera operator 'Nick' Roeg was directing a quarter of a century later it all seems positively decorous.