The Last Journey

Despite the artistic and financial constraints of working at Twickenham Studios Bernard Vorhaus was determined to make an entertaining little picture out of this albeit with not the most talented bunch of actors. It's not a classic but it's a really fun watch.

Not unlike FRIDAY 13TH made a couple of years earlier, this 'disaster about to happen' story enlivens its drama by focussing on the individual little stories of the unfortunate passengers, making them real people on this train bound for its final destination. That earlier film was however made by a proper studio, had a proper script, proper actors and of course the ultimate dream girl, gorgeous Jessie Matthews. This however, made with a budget that Gaumont-British would probably spend just on Miss Matthews' tea and biscuits has something special - the amazing Bernard Vorhaus. This director with an array of imaginative camerawork and clever editing, which gets faster and faster with some scenes lasting just a few seconds towards the end, creates a real sense of tension and genuine concern for those passengers whom you've quickly come to know and actually care for. It's a remarkable demonstration of talent.

Like those early Warner Brothers films where every millimetre of expensive celluloid had to be used to tell the story rather than any of that background of mood building nonsense! Vorhaus build's the characters and packs the life stories of about five groups of people into this even before the action starts. It's an impressive achievement and although this type of story has subsequently been done dozens of times better, this is still pretty enjoyable.

This film has a no-nonsense approach but somehow it's also a quite whimsical. It shares that subtle subversive dark humour that was common in a lot of English films from the thirties. For example even as the runaway train is hurtling towards disaster, as it rushes past a group of people waiting on a platform, it blows off someone's toupee which lands on the face of a bemused woman. It is full of little endearing moments like this whilst not detracting from the overall building tension.

Unlike the few 'classics' that Twickenham made, this is really of interest only to those of you who want a little taste of what life might have been like in 1936. If that's you, you might enjoy this.

Step aboard the cinematic journey of a lifetime with 'The Last Journey' (1935), directed by the visionary Bernard Vorhaus. Set against the backdrop of a thrilling train expedition, this forgotten gem of the silver screen takes audiences on a pulse-pounding ride filled with suspense, intrigue, and unexpected twists.

As the locomotive hurtles through the picturesque countryside, tensions run high among the eclectic group of passengers onboard. Vorhaus masterfully crafts a narrative that delves into the depths of human nature, exploring themes of love, betrayal, and redemption against the backdrop of a rapidly unfolding mystery.

The ensemble cast delivers powerhouse performances, bringing to life a diverse array of characters with their own secrets and motivations. From the enigmatic stranger to the star-crossed lovers, each passenger adds a layer of complexity to the narrative, keeping viewers guessing until the final frame.

What truly sets 'The Last Journey' apart is its ability to keep audiences on the edge of their seats from start to finish. Vorhaus expertly ratchets up the tension with each passing moment, building to a heart-stopping climax that will leave viewers breathless.

With its timeless themes and captivating storytelling, 'The Last Journey' remains as riveting today as it was upon its release nearly a century ago. So, climb aboard and experience the thrill of the ride - you won't want to miss this unforgettable journey through cinematic history. 👍👍

Although only an hour long, The Last Journey is a very gripping vintage British thriller.

A train driver, just about to undertake his last job before retiring discovers his fireman is having an affair with his wife, so he takes a gun and threatens him with it and he forces him to keep putting coal into the fire to make the loco go faster. As a result, the train misses all its stops and arrives at its destination early. One of the passengers manages to get the driver to slow down. There is a rather motley collection of passengers on board including a newly married couple on honeymoon, a pair of crooks, a woman who tells everyone not to drink alcohol, a couple with some very lively children, a Frenchman and a lone boy.

Despite its low budget and age, I enjoyed watching this movie. It is available in the UK on VHS as a double feature with The Ghost Camera.

A must for all vintage movie fans and also rail enthusiasts. Excellent.

Rating: 4 stars out of 5.

This, had Hitch directed it, would have been considered one of his lesser efforts yet it has many of the elements and one of the stars, (Godfrey Tearle) of his "39 Steps" and lacks nothing in pace or sly humour. Hugh Williams was very much in the Robert Donat mould, albeit a national rather than international star.

www.britishpictures.com warns against the easy dismissal of British films post 1927 as "quota quickies" arguing that "The big budget Things To Come, for example, can't be regarded as a quota-quickie yet producer Alexander Korda came to Britain because of the protection the quota offered." while fully accepting that there were dreadful low budget efforts which came into being because of the quota.

This is all round, not less than a middle-ranking film in terms of stars,ambition, writing, direction and budget. Reminiscent of silent car/train chase films this steams along at a rattling pace but manages to amuse with the semi-comic conman and woman who get caught up in the plot.

Thoroughly entertaining but lacking the brilliance of the Master.

A definite must for railway buffs (in fact it would easily figure on the top ten), thanks to the wholehearted co-operation of the Great Western Railway which has produced some absolutely staggering scenes and effects. Aside from a bit of obvious under cranking right at the very beginning of the movie, technical credits are extremely proficient. Direction and camera-work strike even a casual viewer as especially skillful. The script is serviceable enough too, though some of the players, particularly Julien Mitchell as the mad engineer, are inclined to over-do things a little. Olga Lindo is also a bit of a pain as the overly sympathetic wife, but that's the fault of the script. Judy Gunn makes a pleasant heroine, and it's nice to see Eve Gray laying on the charm as a confidence girl.