jamesraeburn2003 Police Supt. Chadwick (John Arnatt) has a mad killer on the loose who targets young blonde women walking across an area of waste ground known as 'The Flats' on each night of the full moon. His chief suspect is ex- jailbird and juvenile delinquent George Mallon (David Sumner) who lives at a hostel for just released prisoners run by the kindly Tom Daniels (James Hayter). Mallon was seen quarreling with one of the victims, the shop worker Muriel Masterson, who had been dating him but dumped him when she found out about his past. However, the problem is that he has a rock solid alibi which is verified so Chadwick recruits a young WPC called June Lock (Susan Travers) to work undercover at the furnishing company where Mallon has landed a job. The plan is for her to win his confidence in the hope he will go on a date with her and, if he is the killer, lure her out to The Flats and attempt to kill her; only Chadwick and his men will be monitoring their movements closely and catch him in the act. Is Mallon really Chadwick's psychopath or is it a case of the police and everybody in town wanting it to be him no matter what because of his surly manner and troubled past?British b-pic director Montgomery Tully was one of the most persistent filmmakers in his field who would bend over backwards to make something worthwhile out of even the most unpromising of material. This 1962 Eternal production for whom he made one of his best thrillers, The Third Alibi in 1961, is setback by its small budget that means it is trapped within the confines of a few tiny studio bound, indoorsy sets. It very rarely gets outside at all and relies on talk rather than action - the murders happen off screen - and it runs the risk of being unbearably tedious as a result of that.However, it is rescued by the director's decision in the script he co- wrote with producer Maurice J Wilson to place its emphasis on character. It's basic plot about a manhunt for a crazed moonlight killer takes a back seat and focuses on the plight of the young tearaway suspected of committing the murders. Competently played by David Sumner, Mallon earns our sympathy as it soon becomes clear that everybody in the town, as well as the cops, automatically assume he is a criminal lunatic because of his troubled past. In fact, they more or less want it to be him even though he has an unshakable alibi! We can see that Mallon is looking to go straight and asks his mother who has disowned him to give him another chance, but she rejects him. We understand the reasons for his apparent insolence, defensiveness and surly manner: he thinks the whole world is against him. Funnily enough, it is the young WPC sent to trap him who genuinely believes that he's not such a bad lad underneath it all and takes rather a shine to him. She spots his talent for drawing when nobody else cares and puts him on to a professional artist who could get him a job. Yet, in a sombre ending, in which he twigs that she is an undercover cop he is left with his negative and pessimistic view of life and his fellow human beings.At the climax, the suspense suddenly springs into life after it has been lacking throughout in which Mallon lures June on to The Flats acting in a frightening and suspicious manner making her question that she was perhaps wrong about him all along. In a spine chilling moment on the fog shrouded Flats, the killer nearly claims her as his next victim and we discover the truth about the George Mallon who everyone thought was bad news.

Leofwine_draca A nice little B picture from prolific thriller director Montgomery Tully. The plot is unusual enough to make this stand out and there are some great little moments portrayed very well despite what is obviously a low budget. Heck, even the fog is in short supply here, but OUT OF THE FOG still packs a punch as a murder mystery and has something to say at the same time.The plot sees the callow and unlikeable David Sumner being released from prison and going to live in a kind of halfway house populated by delightful old lags. Most of these ex-cons are made of great British character actors like Michael Ripper, George Woodbridge, and Richard Shaw. The jovial James Hayter is the nice chap who runs the place. However, this is just the background for the main plot, involving a serial killer with a penchant for strangling blondes.Sumner is the main suspect and OUT OF THE FOG follows the police's tailing and eventual attempts to apprehend him. Susan Travers has a fine role as the undercover policewoman used as bait. There's a wonderfully evocative ending and lots of good character work en route; nothing much feels out of place, and overall the film is a nice and tidy piece of work.

malcolmgsw This film was recently shown on Talking Pictures and it must be its first outing for many years.I don't recall seeing it on TV before if I had I would definitely have remembered.It builds up very nicely to a truly atmospheric and creepy finale.I can just imagine audiences jumping out of their seats when the stragglers hands suddenly clutch at the blonde policewoman throat.the director,Montgomery Tully is one of those unsung heroes of British cinema of the 1950s.films such as this are far more memorable than the film's they supported.catch it when it is shown again on particular the final ten minutes when you really aren't certain what is going to happen,a rare event for any film in that period.

kevin olzak 1962's "Out of the Fog," issued in the US under its original source title, "Fog for a Killer," showed up on Pittsburgh's CHILLER THEATER on October 13 1979. Both titles lead one to believe it will be an atmospheric thriller about a madman who preys on helpless blonde women during the light of the full moon, cleverly hiding from detection in the foggy night. Unfortunately, the police investigation rarely strays from the office of the Superintendent (John Arnatt), focusing exclusively on a belligerent ex con (David Sumner) who can spot a 'copper' a mile away. All of the murders take place off screen, no other characters are regarded as genuine suspects, and most disappointing of all, there is no fog to be seen anywhere until the final reel of this 66 minute quickie. Although the police discover that the crimes are committed every four weeks, each time the moon is full, this too is a tantalizing detail that goes nowhere. Definitely not a horror film, and unsatisfying even as a mystery, benefiting from a fine supporting cast, including James Hayter, Jack Watson, and a blonde Susan Travers ("The Snake Woman," "The Abominable Dr. Phibes"), plus Hammer regulars Michael Ripper and George Woodbridge. Unseen on television for decades, this is now available on Region 2 DVD, on a double bill with another British melodrama centering on an ex con, 1954's "Radio Cab Murder."