howardmorley Yes the cited user makes a brave attempt to explain this crime drama plot filmed in London in 1954.I was familiar with Dane Clark after watching him in "Highly Dangerous" (1950) with Margaret Lockwood and the actor who played the lawyer by watching "Angels One Five" when he played a fighter squadron leader in a very different role.Of course the tragic actress Belinda Lee (1936-1961) was not long on this earth losing her life in a motor accident in the US but she provides the film with the necessary eye candy.Obviously the producers were influenced by American Film Noirs of the 1940s e.g. "The Big Sleep" and make a matching brave attempt at this sort of drama for the Uk market.Incidentally I heard that 1954 was the most unremarkable year in recent history when nothing much happened of shattering world importance!I rated it 6/10 along with the IMDb.com average rating.

boirin Although these dozen or so pre-horror Hammer noir films of the early 50s are largely forgotten, they are making something of a comeback through TCM and other vintage film outlets. Of these, 'Blackout' is definitely the best of them.It's well acted and (despite complaints here about the convoluted plot) well written with plenty of humour. Obviously the producers had to struggle with a low budget that inevitably compromised its production values, but the film makes the most of what it had. Still, it's a treat for Dane Clark fans and those who can see an unrealised talent in Belinda Lee before dying far too young. Their on-screen chemistry is terrific and so are Clark's scenes with Eleanor Summerfield (one of my favourite British supporting actors).One of 'Blackout's most interesting elements is that, unlike most film noirs, that usually involve male protagonists with a token femme fatale, the plot of 'Blackout' is mostly female-driven.

karen5778 This is a little British murder mystery, not a noir. The main character is a nice shlub, not a tough guy. There is very little tension or menace and certainly not any cynicism or existential despair. The dialog and bits of business are pretty funny and practically everyone in the film, including the villain, seems basically likable. Dane Clark does a very good job, although he will go on to do better. The plot offers a steady diet of red herring, but plot is not this film's strong suit. The whole thing is so likable that you may find yourself cringing that the plot and twists and turns seem so aimless and gratuitous, but it doesn't pretend to be more than a grade B movie with some good acting and good dialog.

lfisher0264 It's too long and confusing and all the tension ebbs away while you try to follow the convoluted plot. The fun part is revisiting London of the time, especially the genuine interiors - from Chelsea Studio to furnished (in 1900 taste) flat to shagpile'n'modern sculpture penthouse. The beautiful girl acts as well as the artist's wooden lay figure. Why couldn't Dane end up with painter Eleanor Summerfield? I suppose we're meant to think "Oh ho, the cops are following him because they think he'll lead him to the real killers!", but this is very clunkily done. And yes, the scene in the Polish pub (Polish pub???) is utterly unnecessary.