You'll get hooked on this right away but then annoyed at the way it takes so long to get to the point. Director, Basil Dean's lugubrious pace and humourless direction tries too hard to build tension rather than developing the story or making us get to know his cast.
According to Mr Dean he was not entirely to blame. Studio boss Alexander Korda was so underwhelmed by Dean's direction that he started to re-shoot and rewrite scenes himself. This conflict gives the picture a disjointed feel but the main issue is that the balance is really wrong. About half the film is taken up by the (anti) climatic court case which is meant to get you on the edge of your seat. It achieves that ambition but only because you're yelling "get on with it!" This is one of the dullest court room scenes I've seen - where is William Powell or a Barrymore brother when you need them ? What's sacrificed for this pseudo-arty tension trope is that we don't get time to know the characters straight away. More time should have been devoted to that because it takes too long to draw you in.
On the plus side, it looks good, it's full of mood, clever lighting and the inevitable 1930s London fog - the camerawork also is pretty impressive. The acting, as you'd expect from this lot is first rate but it's the story which doesn't grab you. Such a tale about abuse, murder, deception and blackmail handled by another director could have been the most exciting thing since sliced bread but this is actually less exciting than that aforementioned piece of bread.
What does eventually makes you sit up and take notice is the brilliant cameo from Hay Petrie as a down and out ex-vicar. You then wish you'd been paying more attention earlier! That's what happens with this - once you've started you really want to find out what happens next but your brain keeps trying to switch off.
Despite what some reviewers have said, this is not a bad film - it's just frustrating because you know that it could have been made better. For example, had Hitchcock been in the chair this might have been a classic. As it stands it's just ok.
One interesting thing to see is Mr Olivier not playing the alpha male - as the weak willed looser, the unsuccessful brother, he's remarkably believable. That's until you realise that this young actor has, just a few weeks earlier married probably the most beautiful woman in the world.
According to Mr Dean he was not entirely to blame. Studio boss Alexander Korda was so underwhelmed by Dean's direction that he started to re-shoot and rewrite scenes himself. This conflict gives the picture a disjointed feel but the main issue is that the balance is really wrong. About half the film is taken up by the (anti) climatic court case which is meant to get you on the edge of your seat. It achieves that ambition but only because you're yelling "get on with it!" This is one of the dullest court room scenes I've seen - where is William Powell or a Barrymore brother when you need them ? What's sacrificed for this pseudo-arty tension trope is that we don't get time to know the characters straight away. More time should have been devoted to that because it takes too long to draw you in.
On the plus side, it looks good, it's full of mood, clever lighting and the inevitable 1930s London fog - the camerawork also is pretty impressive. The acting, as you'd expect from this lot is first rate but it's the story which doesn't grab you. Such a tale about abuse, murder, deception and blackmail handled by another director could have been the most exciting thing since sliced bread but this is actually less exciting than that aforementioned piece of bread.
What does eventually makes you sit up and take notice is the brilliant cameo from Hay Petrie as a down and out ex-vicar. You then wish you'd been paying more attention earlier! That's what happens with this - once you've started you really want to find out what happens next but your brain keeps trying to switch off.
Despite what some reviewers have said, this is not a bad film - it's just frustrating because you know that it could have been made better. For example, had Hitchcock been in the chair this might have been a classic. As it stands it's just ok.
One interesting thing to see is Mr Olivier not playing the alpha male - as the weak willed looser, the unsuccessful brother, he's remarkably believable. That's until you realise that this young actor has, just a few weeks earlier married probably the most beautiful woman in the world.