Peggy Cummins (Belle Adair), Victor Mature (Sir Alexander Sterling), Ethel Barrymore (Lady Sterling), Margo Woode (Daisy Arrow), Vincent Price (Inspector Clinner), Patricia Medina (Audrey Ashton), George Zucco (Craxton), Rhys Williams (Evans), Carol Savage (Harriet), Victor Wood (Wilson), Felippa Rock (Liza), Patrick O'Moore (Gilby).Director: GREGORY RATOFF. Screenplay: Jules Furthman, Tom Reed. Adapted by Niven Busch from the 1935 novel by Joseph Shearing. Film editor: James B. Clark. Photography: Joseph MacDonald. Music: David Buttolph. Costumes: René Hubert. Producer: Gene Markey.Copyright 8 June 1947 by 20th Century-Fox. New York opening at the Roxy: 2 July 1947. U.K. release: 22 September. 7,374 feet. 82 minutes.COMMENT: One of my favorite mystery thrillers of the 1940s, this is an incredibly lavish production from Fox's "A" unit, brilliantly handled by up-and-down director, Gregory Ratoff. In a gripping plot, raised against a fascinating Victorian background, and laced with deft dialogue, a group of compelling characters are enacted by Price, Barrymore and yes, Victor Mature, giving the all-time best performances of their lives.

Various internet sources state that the film "Moss Rose" was based on the Joseph Shearing novel, "The Crime of Laura Sarelle." This is simply not true as any reading of that novel will clearly show. The 1947 film "Moss Rose" was based on the 1934 Joseph Shearing Novel, "Moss Rose." And although the film plot varies greatly from the novel, the basic story is quite similar and many of the same character names were used in the film. The novel was based on the 1872 murder of a London prostitute, well before Jack the Ripper appeared on the scene.Incidentally, Joseph Shearing was one of many pen names used by Marjorie Bowen (another pen name) who was born Gabrielle Margaret Vere Campbell and later married Arthur L. Long. She wrote many thrillers, romances, and novels of the supernatural, all under various pen names.In any event, the film "Moss Rose" exudes Victorian/Edwardian atmosphere and suspense and is well worth watching. Truly, they don't make them like this any more.

Moss Rose is a good example of sometimes less is best. Without a complicated and tedious storyline, this neatly plotted 1947 mystery thriller moves at a fine pace, holding ones interest until the end. Thanks to Peggy Cummins who excels in her resplendent performance of the Cockney chorus girl who cleverly blackmails her way into an upscale English manor. Victor Mature is suave as the blackmailed , suspected murderer along with the airy Ethel Barrymore playing his doting mother and the grand matriarch of the manor. Vincent Price's role is small but he is quite capable as the polite but persistent Scotland Yard detective who has a predilection for moss roses. This intriguing Twentieth Century Fox drama is set in the Victorian era and the costumes and sets are well done along with the foggy London and English country scenes do well to enhance the atmosphere. I don't want to write a synopsis of this film and give away the surprise ending to the reader, but will say , Moss Rose still holds up well with any thriller film from it's era. If you are a fan of this genre , try to catch a look at this one. You will be pleasantly captivated by the fetching Peggy Cummins.

Moss Rose is directed by Gregory Ratoff and adapted to screenplay by Niven Busch, Jules Furthman and Tom Reed from the novel The Crime of Laura Saurelle written by Joseph Shearing. It stars Peggy Cummins, Victor Mature, Ethel Barrymore, Vincent Price, Margo Woode, George Zucco, Patricia Medina and Rhys Williams. Music is by David Buttolph and cinematography by Joseph MacDonald. Somebody is killing Michael Drego's (Mature) lovers and leaving behind a bible and a compressed dried moss rose. When her dancer friend is one of the victims, Belle Adair (Cummins) thinks she knows who the killer is and sets about blackmailing him for an unusual request... British set Gothic noir pulsing with maternal pangs and whodunit shenanigans, Moss Rose has much to recommend to the like minded adult. Lets not beat around the bush, though, motivations of the principal players are decidedly weak and the police fare little better in the brain department. However, once one settles into the atmosphere brought out by MacDonald's (Niagra/Pickup On South Street) beautiful photography - and got tuned into Cummins' brash London accent - then it can sustain interest. It's more successful as a mood piece when out on the London streets than it is at the Drego mansion, though the period design of costuming and sets is most appealing. Mature often came in for some stick for his acting, but I have sometimes thought much of it was unfair. Here though he is not quite right for the role, it feels like what it is, a name on the poster to draw the punters in. But his performance still works on sombre terms, besides which, Cummins and the wonderful Barrymore pretty much dominate proceedings anyway. Price fans should note that he isn't in it much, and even then it's late in the picture, but he's suitably stylish and you can't help thinking he probably should have had the Michael Drego role instead! Meanwhile Ratoff (Black Magic) directs without fuss and histrionic filler. An enjoyable ride with visual treats along the way, with a finale to nudge you to the edge of your seat. 7/10