Not for the first time and most certainly not for the last I find I've been watching a different film to that seen by the majority of posters. The most blatant ineptness is the plotting. Consider: Having established that he is averse to peddling drugs, new gang-member, Trevor Howard is framed by gang leader Griffith Jones; here's how he does it; he goes with his gang on a robbery and waits in the car with the driver as Howard and some others enter the building. After a few minutes Jones smashes the case housing the burglar alarm whilst Howard and the others are still inside. The police arrive within minutes and Jones's driver runs one of them, a constable, down. NOW, wait for this: The VERY NEXT SCENE is in a prison where Howard, who has miraculously been captured, tried and sentenced entirely off screen, is serving a sentence for murder. That's not enough for this finely-crafted screenplay, not by a long shot (or even a close up) because the NEXT SCENE has Howard on the run having somehow contrived to escape without even planning to at least not in our presence. When writing is as sloppy as that no one has much chance of coming out of it ahead of the game. As Narcy, the gang leader Griffith Jones obviously enrolled for a term or two in the Charles Laughton School of Ham and if Trevor Howard and Sally Gray are adequate the rest of the cast wouldn't be out of place in Tod Browning's Freaks. So Dire It's Good.

What a tight, smart movie. The only criticism I can really level at it is that it's not as good as "The Third Man," and that's only because it doesn't have the gravitas of the unconscionable criminality of Harry Lime.It does have Trevor Howard, as one of the bad guys this time. His riveting performance as a minor-league crook is matched by Griffith Jones's as a major-league mobster. Sally Gray turns in a strong performance too as the femme fatale who, at one point, takes a beating that she withstands stoically until a girlfriend cleans her up and, finally, gives her a cup of tea. It may be that kindness, or perhaps the hot tea on her split lip, you don't know, but Gray breaks down at last and you realize what the beating has done to her.The pace is swift, but not rushed. Extraneous but fascinating scenes are included—scenes which lead nowhere-- particularly the homicidal lisping woman and her drunken husband who shelter fugitive Trevor Howard in their house for brief but very creepy period.Every frame is composed with extraordinary care, especially in the climactic scene in the funeral parlor, a scene that reminded me of nothing so much as "Cabinet of Doctor Caligari." There's hardly a right angle in it. The chiaroscuro photography by Otto Heller ("Alfie," "Victim," "Peeping Tom," etc. etc.) is only enhanced by editing that's almost as whip-crack as the dialog.And as for that superb dialog… film noir movies typically have wisecrack lines, but this Noel Langley screenplay is brilliantly terse—in league with Chandler's work. If any character had two sentences in a row, I didn't notice. It's all lickety-split exchanges, and every line adds definition or motivation to the character speaking.A personal note: This is the only film I've ever watched which, after it finished, I immediately started it over and watched it again from the beginning. It was that rich, that engaging, and that satisfying.

Cavalcanti directed this excellent British film noir, "They Made Me a Fugitive," with the then new star, Trevor Howard, as well as Sally Gray, Griffith Jones, and Mary Merrall. Howard plays Clem Morgan, a war hero who joins a black market ring, headed by Narcy (Jones) that does business out of Narcy's funeral business, the contraband entering in coffins. Clem, however, draws the line when he sees them dealing in drugs. He winds up being framed for a killing of a bobby, deserted while he's unconscious in a car. The ex-girlfriend (Gray) of Narcy, the chief criminal, comes to see him in prison, sure he's not guilty. Clem escapes and goes on the run, and reconnects with Gray. She tries to find the witness who can clear him.Very ahead of its time in its graphic violence, which includes violence toward women. Also, the lead is not a hero, having turned to crime. The ending is also unexpected. My only complaint would be the hitting the audience over the head with the RIP letters on the roof, and also the phrase "It's later than you think," which was possibly the inspiration for its appearance in "Midnight Cowboy." The performances are very good, with Howard, Gray, and Griffith all in top form, and Merrall creates an interesting character. The camera-work is very good also, quite stunning.Highly recommended - it's nothing like you'd expect.

A year after his hit,"Brief Encounter," Trevor Howard turned to a British gangster film of the film noir genre.Falling in with a band of crooks, Howard wants out when he sees what they're really up to. The leader of the gang, Griffith Jones, has him framed for running over a police officer and the Howard character is sentenced to 15 years for manslaughter.The rest of the film deals with Howard breaking out of prison, after he is told that his girlfriend is now going with Griffith. Of course, Griffith's ex tells him all this.Griffith Jones's death scene is quite similar to that of Stephen Boyd in "Ben-Hur." The only difference is that the ending is not exactly what you want.Nevertheless, this is a taut thriller, one of the best of the film-noir genre.Sally Gray is Griffith's ex who comes to love Howard.