Faces in the Dark

This taut little gem was on British television last night - January 23rd 2010 - on the Film 24 channel, which has been treating old movie fans to some really obscure titles recently including two other John Gregson films ' To Dorothy A Son ' and ' SOS Pacific '.

I have now recorded it in case it's another 50 years before it turns up! It's got a very dark, disturbing ending for a British film made in 1959, no doubt because of it's French literary origins.

While it's definitely worth thriller & mystery lovers spending 90 minutes of their time, the sudden disappearance of John Ireland ( who adopts a pretty good English accent as Gregsons ner-do-well brother ) mid-way through the film, is the biggest mystery of all.

I believe he was making the TV action series " The Cheaters " in London at the same time so maybe he had to bow out of " Faces In The Dark " because of other work commitments.

He didn't even have a dramatic death scene...suddenly he was gone and referred to as being dead! All these years later, we'll never know why an actor of his stature had such a minor role in the film,

I was staggered to read some of the other reviews of this film, as I found it to be one of the best mystery thrillers it has been my pleasure to see. From start to finish, this is a film which does not flag, which remains taut and full of suspense throughout, and which keeps the viewer endlessly and tensely speculating about just what is going on : is the blinded Mr Hammond just paranoid, or is he really likely to be murdered ? That is perhaps the main question, but there are other related issues which keep the viewer on tenterhooks, and the overall result is an excellent hour and a half's viewing. All good things come to an end, as they say, and this film certainly comes to an end that one never could see coming !

I finally got to watch this film on a scratchy DVD from a VHS copy bought off ebay- so the sound quality was muted at times, but i've tried to see it for years and failed. It is a good taut little thriller, on a moderate budget but well acted (everyone is suitably mysterious and two-faced) though John Gregson had to work very hard to convince as the tough, unpleasant workaholic boss (he just looks too affable). His dilemma, after an accident blinds him, gave me a few empathetic shivers and that dilemma is what kept my attention right through to the unexpected ending. There are some genuinely creepy moments,and an initially unsympathetic main character makes headway in conjuring our sympathy.

Enjoyable and should be better known.

FACES IN THE DARK is a rather forgotten film in the British noir genre. The movie is a bit slow but totally worth hanging in there - the TWIST is quite staggering & very well done (no surprise it is based on a book by the writing team that also wrote the novels that VERTIGO, LES DIABOLIQUES and EYES WITHOUT A FACE were based on). John Gregson is very good as the rich successful man who is blinded in an industry accident. He is angry at the world with his fate and slowly begins to worry that he is losing his mind. Is he just paranoid or is his "loving" wife too good to be true? I watched this with a few friends and we all thoroughly enjoyed it.

The "roman de la victime" ("victim novel") pioneered by the writing team of Pierre Boileau & Thomas Narcejac - lovingly detailing the cruel gaslighting by others of a vulnerable victim - after providing the raw material for 'Les Diaboliques' and 'Vertigo' inspired many imitations during the early sixties, particularly by Hammer Films; although 'Faces in the Dark' is one of the few direct adaptations of their work. Had this been adapted for Hammer by Jimmy Sangster (who had been regularly providing them with 'psychological' scripts commencing with 'The Snorkel' in 1958) the result would probably have been much scarier.

Like most black & white features of the early 60's it looks good. But despite the occasionally gothic lighting, strange camera angles, the menacing presence of Mai Zetterling (who always looks guilty of something) and a cool title sequence aided by an eerie ondes Martenot score by Mikis Theodorakis it becomes very plodding and garrulous (although the ending is satisfactorily grim).

A similar subject concerning a blind patriarch made a much better film a few years earlier called 'Silent Dust' (1949). Catch that if you get the chance.