The Good Die Young comes at you from the very beginning; a honking, blaring opening consisting of the front of a car filling the screen. We appear to be on the back of the vehicle in front, that sensation of being chased through the dimly lit public streets in the dead of night most certainly prominent. British director Lewis Gilbert begins his 1954 heist film in a stark and unmitigated fashion, that sense of having something you don't want right on your tail or looming over you as you attempt to get away; his film going on to document a handful of characters as disparate as they are desperate with a foreboding sense of the inevitable looming over each of their heads as they ponder a heist set against each of their respective financial situations. But where the opening is frank in its immediacy, The Good Die Young goes on to morph into a rather intimate character study about a handful of men brought together through the same reason to take part in the same task.The film is ultimately about the allure of crime than anything else; those expecting a gangster film will be rather sorely disappointed, with Gilbert's film coming to resemble more a class drama than a crime genre piece. It's bookended by the men clustered together with tensions running high and a sorely undesired predicament looming, a clerk named Joe Halsey (Basehart) narrating to us how it was he and three others got to be occupying a rich playboy's car sizing up an object and wielding pistols; the finale a quite gripping trawl through the murky, cobbled streets of 1950s Britain as police officers; stray freight trains and unfaithful partners in crime each pose their own threats. It's here Gilbert proves he's just as apt at dealing with dramatic action set-pieces as he is engaging us with character: specifically, who's involved; what's at stake; who's going where, and why; the internal 'checkpoints' the characters must reach as well as the sorts of action that must be undertaken, the man having his characters in The Good Die Young pay special attention to both the methodical planning and dealing with each obstacle within an action set piece which needs separately dealing with during the final getaway.Gilbert executed similarly effective craft later on in his career, namely when he was granted the helming of three separate films within the James Bond cannon. 1977's The Spy Who Loved Me saw an extended scene on board a tanker ship nearer said film's climax and required its lead to first get aboard; find some trapped hostages; recover them only to discover a wall of seemingly impregnable steel; find something which might destroy that; obtain it, and then follow through once again with the next course of action. The attention to such things were initially used to a lesser degree of success in 1967's You Only Live Twice. But in The Good Die Young, a similarly effective craft is evident behind not only the finale but the getting to this point; the film coming to resemble one long flashback told to us by the aforementioned Joe involving a whole group of people brought together through problems with money.The film does its best to intrinsically link each man, each one being of a respective background in class and career; one of whom is a boxer named Mike Morgan (Baker), a man at the end of his stretch as a fighter - the ring-set howls and wails as another fatal blow is landed upon a poor opponent much to the glee of the crowd echoing down below into the locked room as Mike sits there knowing one of his hands is on the brink of being seriously damaged as it is. Meanwhile, American pilot Eddie Blain (Ireland) refuses orders to ship out to West Germany with the American air force to instead zero in on his wife and her infidelities; whereas narrator Joe maintains a rocky relationship with the mother of his own wife, something he gets involved in so much so that flying back to England from his American-based clerical job to get involved sees him fired.So each man is rather attuned to their wives, Mike's relationship seeing him admit to lending his hard-earned cash to his own wife's brother if she'd told him to; his ultimate goal to take his large earnings and escape to his beloved. Furthermore, each man's respective situation in each of their jobs sees them hit a proverbial wall bringing about unemployment or redundancy; each of the three men additionally appearing to have served in a respective war and two of them have experiences with near-death or great harm of some kind in that Joe's mother in law attempts suicide and Mike must come to have some serious work done on his hand. The men are eventually thrust together by the seemingly indomitable Miles Ravenscourt (Harvey), a young man, whom might be richer than he actually is, but whom occupies a plush and far richer locale; a self indulgent man whose home is rife with portraits of himself and whose wife Eve (Leighton) must suffer his begging for more money despite both parties' knowledge of his trouble with gambling debts; a man so estranged from his father, that he hopes to outlive him so that Miles may never see any of his inheritance, such is is ill-minded way with money as the film will go on to document. As previously mentioned, the film is more about the allure of crime or the idea behind a criminal act that'll greatly benefit oneself arriving with a sense of enticement, than most others things. The duality in each of the four men may appear looser than desired, but Gilbert crafts rather-a taut and tight heist film about desperate people doing desperate things at desperate times.

All About Eve has a lot to answer for, not least the idea - which wasn't exactly new but Mank gave it a great new coat of paint - of starting the action in the present then letting a voice-over narration introduce the principals. The difference, of course, is that 'Eve' was scripted by a pro, Mank, whose name on the credits assured the viewer that Wit and Style would follow, whilst The Good Die Young was scripted by a couple of hacks I won't embarrass by naming. Seldom has a more disparate and incongruous cast been assembled in one movie. Top billing went to Mr. Mahogony aka Laurence Harvey and in an effort to give him some class the script had him married to Margaret Leighton, the only person remotely resembling an actor in the cast; the fifties was a time when Hollywood actors on the skids came to England in an attempt to revive flagging careers and three of them were wheeled out for this caper movie in the shape of John Ireland, Richard Basehart and Gloria Graham. There's also a nice touch of irony at work in the fact that Joan Collins and Graham share the same screen though never meet. Collins aims for demure though in her case it's more like demure the merrier while Graham, who was born sleazy and shop-soiled, took the kind of role (sluttish wife) that Collins would eventually make her own. Other imitators have proved that the flashback technique with voice-over narrator can and does work but usually the back stories are not warmed over clichés as here, in fact a good alternate title would be Four Losers In Search Of A Cliché.

Better than it has a right to be this film starts somewhat uncomfortably in very British stiff-upper-lip fashion, stagily introducing four very different couples all with problems which under the self-serving guidance of ringleader Laurence Harvey moves unexpectedly to an excellent almost UK take on film noir. Basically a cautionary tale of when thieves fall out the film meanders fairly lightly to the trigger point in the film where Harvey ups the ante on their post office heist by inexplicably shooting a nosey policeman right in the face. From there on it's all darkness and shade with some fine cinematography effectively conveying the mean streets which will eventually claim them all as victims. Of course some of the language is dated and some of the performances mannered but the four male leads are contrastingly good, particularly Harvey as the suave psychopath who clearly has no plans to share any of the hard won loot with his erstwhile colleagues. The female players, starry as they are, are less effective, conveying less realism than their male partners. Director Lewis Gilbert, later to helm a number of James Bond outings, prefigures this work here by demonstrating his greater grasp of action set pieces than character study. Certainly worth watching, especially the suspenseful second half, which lifts the film to a different level altogether.

Channel 4 recently screened The Good Die Young one afternoon so I set the video and was pleased I did.Four men, a boxer who has had one of his arms amputated, a rich man and two Americans are fed up of being short of money. The rich man suggests the four of them rob a post office which is having a delivery of £90,000 later that evening. After all agreeing, they head there but things start going wrong when a copper comes over to their car to tell them are illegally parked. He is shot dead and the gang the raid the van and take the money and escape into a nearby church yard. The rich man shoots the boxer first after he decides to give himself up, then as they are crossing the railway lines which are electrified, he pushes one of the Americans onto the live rails and is electrocuted. The two survivors manage to escape further from the police on an Underground train but the American decides he has had enough and goes back to his wife and they head to the airport to go catch a flight back to America. After making a last minute phone call to police telling them where the hidden money is, the rich man sees him in the phone booth but he is shot by the American. Thinking he is dead, he heads for the plane but is shot and then collapses into his wife's arms and dies. A sad ending.The movie has excellent location photography around London and one of the best parts is the railway sequence.This movie is worth having in a collection just for the cast: the gang leader is played by Laurence Harvey, the boxer is played by Stanley Baker (Zulu), the Americans are Richard Basehart (Voyage to the Bottom Of the Sea) and John Ireland. The rest of the cast includes a young Joan Collins (Empire of the Ants, Dynasty), Robert Morley (who only appears too briefly), Margaret Leighton, Freda Jackson (The Valley Of Gwangi), Rene Ray and Susan Shaw.Watching this is an ideal way of spending 100 minutes one afternoon. Excellent.Rating: 4 stars out of 5.