It might be a commonplace critically to pronounce the first film version of Graham Greene's novel to be not as good as the source- text, but in this case we would be terribly wrong.John Boulting's film offers a dystopian world of mid-twentieth century Brighton: ostensibly set during the Thirties but applying as much to the time when the film was released. The resort's streets teem with people desperately trying to have a good time in the sunshine, sitting in deck-chairs, eating in shabby restaurants, enjoying rides in the Chamber of Horrors or eating candy-floss. Brief romances wither and flourish; older citizens find solace in the pub. No one, it seems, can think about the future; everything must be lived in the present, otherwise they might succumb to desperation.In this kind of environment it's hardly surprising that Pinkie (Richard Attenborough) and his gang should thrive. They can offer 'protection' from the chaos - at a price, of course - and should their victims be unable to pay up, they can be readily disposed of. This was the time of the spiv and his henchpersons, who walked unmolested through the streets, carefully concealing themselves from public view and striking when and where necessary.Harry Waxman has produced some truly memorable visual metaphors for this world. He uses a tilted camera in which the characters' faces are reflected in the mirror; on at least two occasions he has people smashing china figures on the ground. The death of Pinkie's loyal associate Spicer (Wylie Watson) is truly shocking, especially when the gang-leader throws a suitcase of the old man's clothes from an upper level down to the lower level, to rest on the inanimate corpse. Human life is that cheap for the young man. Yet the Boultings' version of the book also focuses on another level of meaning, as it tries to explore Pinkie's psychology in terms of his religion. He continually fingers his rosary beads, reminding us of his lapsed Catholicism; this represents a source of considerable guilt, but he conceals it beneath a veneer of bravado. Attenborough is quite masterful at this; his face remains impassive throughout, his eyes staring coldly at the camera or boring into his friends' expressions as if defying them to detect a chink of emotion underneath. He believes that the only means to survive in an amoral world is to be a 'hard man.'In line with the censorship codes of the day, Pinkie is brought to bear in the end, as he loses his sang froid and commits suicide - a final betrayal of his Catholic faith. But the Boultings have not finished yet; in a supremely unexpected moment, they have Pinkie's common-law widow (Carol Marsh) playing a gramophone record of her husband disclosing her true feelings for him. The needle sticks, and we hear only one phrase repeated over and over, so much so that it becomes meaningless - a suitable metaphor for the world Pinkie inhabited.Owing a lot to the pragmatic techniques of British documentary film=making, with lighting and shadow effects straight from German Expressionist movies of the previous decade, BRIGHTON ROCK is a true classic of the postwar British cinema, as arresting today as it ever was.

Based on the 1938 novel of the same name by Graham Greene, this is a fascinating exploration of morality and the darker side of human nature. I read the novel six or seven years ago so my memories of it are not particularly fresh but I think that the film sticks closely to it with the exception of toning down the Catholic doctrine / damnation theme and the ending, which I will discuss later. As such, the film has a very strong script, written by Greene himself and Terence Rattigan. It is extremely well directed by John Boulting and the black and white cinematography by Harry Waxman is beautiful. Atypically for British films of the era, it was filmed on location in Brighton. This was to the film's benefit as the nice seaside holiday resort atmosphere is a great contrast to the underworld elements.Richard Attenborough is simply marvellous as the psychopathic 17-year-old gangster Pinkie Brown, a role which he reprised from the 1944 West End adaptation. It is an absolutely riveting and often chilling performance. Pinkie is not a particularly verbose character - he has only one line in the first 15 minutes, for instance - and he seldom raises his voice but the intense way in which he stares at people makes him terrifying. His face is often half in shadow, which adds to the effect. More importantly, the film does not shy away from presenting him as an amoral, callous bastard. The fact that Attenborough had a baby face and was quite a short, slight man provides a fantastic contrast to Pinkie's behaviour as, unlike many other film gangsters, he is in no way physically imposing. It is his strength of personality which makes people fear him. It is one of Attenborough's best known performances but it is interesting that he became well known for playing steadfast, deeply moral, thoroughly decent and courageous men in his most of later films.Carol Marsh, otherwise best known for playing Lucy Holmwood in "Dracula" (1958), is very good as the sweet, naive and deluded Rose. As she is aware of the fact that Fred Hale was dead when Pinkie and his gang claimed that he was still alive, Pinkie manipulates her into marrying him so that she will not be able to testify against him. Like Pinkie, she is a 17-year-old Catholic but she is far less worldly than her new husband and does not realise that he despises her. In his gramophone recording, he makes this very clear: "You asked me to make a record of me voice. Well, here it is. What you want me to say is 'I love you.' Here's the truth: I hate you, you little slut." Charming.The film has a very strong supporting cast such as Hermione Baddeley as the principled, forceful "brass" Ida Arnold, William Hartnell as Pinkie's frightening right-man hand Dallow (who eventually displays a glimmer of conscience), Harcourt Williams as the alcoholic, Shakespeare quoting lawyer Prewitt, Attenborough's future "The Great Escape" co-star Nigel Stock as Cubitt, Alan Wheatley as the murder victim Fred Hale, Reginald Purnell as Frank Spicer and George Carney, who died the very month that the film was released, as Phil Corkery. It also features a small appearance from Marianne Stone, whom Attenborough would later direct in "Oh! What a Lovely War" in which he returned to Brighton.Now, onto the ending. In the final scene, after Pinkie has committed suicide, Rose plays the aforementioned record but it becomes stuck and plays "I love you" over and over again. I have seen this described as upbeat when compared with the novel's ending in which Rose hears the full message but I can't agree. I think that it is very depressing that a very nice young girl is so deluded that she thinks that a boy who was repulsed by her and wanted to murder her was in love with her. It's less bleak than the ending of the novel but not by much. In any event, there is nothing to stop her from listening to the full message the next time that she plays it. It is a rare example of a film changing the ending of a novel without completely invalidating the original one.Overall, this is an excellent and thrilling example of film noir which pushed the limits of what was acceptable in British films in the 1940s.

Brighton Rock is a psychological based drama set around the motives and actions of Pinkie (Richard Attenborough), whose gang is invested in the protection racket. Following the death of a journalist in which Pinkie is connected the narrative follows his attempt to isolate himself from any involvement of the crime whilst trying to prove himself as a leader.I have categorised Brighton Rock as a psychological based drama as the film focuses in depth on the emotions of the characters through various techniques which makes it stand out long in the memory. Most of this attention unsurprisingly goes to the protagonist Pinkie. Its established early on with his fascination with a piece of string, a recurring motif of the expression of his dangerous thoughts. Lingering in the forefront whilst playing with his string, he suddenly snaps and causes damage to some bar glasses. How fast Pinkie's mindset can turn indicates to the audience the dangerous personality he can be. I was particularly impressed by the cinematography in highlighting the emotions of the characters. A pivotal scene being as the camera zooms in close as Rose (Carol Marsh) looks on lovingly at Pinkie oblivious to the fact he is describing her in a derogatory manner which conveys the naivety of her character in terms of Pinkie's motive behind their relationship. These are only a few of many examples in which the micro techniques of Brighton Rock convey the depth of emotions.It was this impressionist style Brighton Rock sustained as a result of studying the character's emotions is what I found most intriguing about the film. It raises Brighton Rock to a higher status than just the usual crime drama. It not only shows us the dangers and consequences of the gangster lifestyle but in a way we are placed into their environment by being shown Pinkie's inner thoughts from murderous to cowardliness. Overall an interesting story with great character studies.

After the end of World War 2,and England was picking up the pieces & rebuilding,the British film industry started to guess that people will eventually want to start flocking back to the movies again. 1947 brought 'Brighton Rock' (released in the U.S. as 'Young Scarface'),from the celebrated crime novel by author Graham Greene. It is the story of Brighton's criminal underground (Brighton,being a sea side holiday area). The story centers on Pinkie Brown,a young,up & coming career criminal (played here by Richard Attenborough,years before he became Sir Richard Attenborough),and the gang of slimy criminals he obviously wants to be the head of,someday. Between gang hits on various targets they want done away with,forever,Pinkie takes a fancy to Rose,a young attractive waitress,working at a sandwich shop in Brighton (played here by Carol Marsh),whom he eventually marries. Pinkie's success as an underworld crime figure is in danger of being found out by a brass,loud mouthed,but well meaning woman,named Ida Arnold (played by a then young,Hermonie Baddeley,forever known for playing domestics in such films as 'Mary Poppins'),who adds some nice touches of humour to the dark goings on. A nice plot twist ending (I'm not saying what)compliments the film,nicely. John Boulting ('I'm Alright,Jack','Rotten To The Core')directs a taut,well written screenplay by Graham Greene & Terrance Rattigan,from the novel by Greene. The film's sumptuous black & white photography,which brings out the atmospheric balance of light & shadow is by Harry Waxman,with tight editing by Peter Graham Scott. This is film noir at it's best (make no mistake about it),that easily takes it's place among noir classics such as 'This Gun For Hire',the original 1949 version of 'D.O.A.',and others. Not rated by the MPAA (as it had not been organized as of yet,but films were overseen by the National Board of Review,back then),this film has some flashes of violence,that were quite bloody for that era (the film received an 'A' certification from the British Film Censorship Board,for adult content---the board's censorship seal was always spliced into the first reel of every film that played in the United Kingdom)