Inspecting DVD's to view, I found out that despite having seen Case of the Baby-Sitter, (also reviewed) I had never got round to seeing the other two movies on the Volume 9 of Forgotten Noir, which led to me visiting Scotland Yard.
View on the film:
Whilst having the odd rough patch, VCI present a transfer which has a very good soundtrack and a pretty watchable print, which are backed by interesting extras.
Revealed in the selected scene commentary/ featurette by Joel Blumberg that the original title for the movies was Lady in the Fog, director Sam Newfield & Stolen Assignment (1955-also reviewed) cinematographer Walter J. Harvey drive straight into the thick fog of a Film Noir atmosphere, via first person shot running over a victim.
Drizzling a dash of Comedy with a film within a film pull-out shot, Newfield and Harvey stylishly use the movie set to cast the curious O'Dell in stark low-lighting, which shatters to a cracking rough and tumble final battle, and an enticing sign of the upcoming wave of Hammer Horror, from this Hammer Noir sending the villain to a resting place in the abyss.
Taking the odd hop in order to reach the last showdown, and keeping O'Dell (played with a charismatic, stiff upper lip charm by Cesar Romero) being blocked from returning to the US, the screenplay by Orville H. Hampton and Lester Powell gradually pull stranger in a strange land Noir loner O'Dell into the web of crimes that is being made, with O'Dell's attempt to peel them away, gaining the attention of others, (who include future James Bond regulars Geoffrey Keen and a delightful Lois Maxwell) who push O'Dell towards inspecting Scotland Yard.
View on the film:
Whilst having the odd rough patch, VCI present a transfer which has a very good soundtrack and a pretty watchable print, which are backed by interesting extras.
Revealed in the selected scene commentary/ featurette by Joel Blumberg that the original title for the movies was Lady in the Fog, director Sam Newfield & Stolen Assignment (1955-also reviewed) cinematographer Walter J. Harvey drive straight into the thick fog of a Film Noir atmosphere, via first person shot running over a victim.
Drizzling a dash of Comedy with a film within a film pull-out shot, Newfield and Harvey stylishly use the movie set to cast the curious O'Dell in stark low-lighting, which shatters to a cracking rough and tumble final battle, and an enticing sign of the upcoming wave of Hammer Horror, from this Hammer Noir sending the villain to a resting place in the abyss.
Taking the odd hop in order to reach the last showdown, and keeping O'Dell (played with a charismatic, stiff upper lip charm by Cesar Romero) being blocked from returning to the US, the screenplay by Orville H. Hampton and Lester Powell gradually pull stranger in a strange land Noir loner O'Dell into the web of crimes that is being made, with O'Dell's attempt to peel them away, gaining the attention of others, (who include future James Bond regulars Geoffrey Keen and a delightful Lois Maxwell) who push O'Dell towards inspecting Scotland Yard.