malcolmgsw Surprisingly there is only one review for this film from the UK.I can say that I knew Soho well at the time this film was made when the protection rackets were controlled by the Krays and they really made the characters in this film seem like choirboys.Unlike Connery in the climax,witnesses were either to terrified to talk or were nobbled.I happened to be at the Old Bailey and was in court when the judge found the Krays not guilty.It was only their desire to match each other for killings that finally got them put behind bars.It is interesting to note that this film only got an "A" certificate so obviously the censor did not believe that it was that tough a film.Connery was third billed but clearly the star of the film.Alfred Marks ,one of my favourites,plays against type as a slimy crime boss who has his ambitions spiked in a painful way.A scene I have always remembered.This film was indicative of the direction in which the film industry was headed.

Marco Trevisiol 'The Frightened City' stars both Sean Connery and Herbert Lom just before their iconic appearances in the Bond & Pink Panther series respectively (although Lom already had a substantial film career before The Pink Panther series).But it wasn't the first time they appeared together, having appeared in 1957's 'Hell Drivers'. And it's this comparison that weakens TFC as while both films are similarly hard-nosed, rough-edged action films, HD is superior more interesting characters, compelling drama and more vivid action scenes.That isn't to say TFC is a bad film - it's solidly entertaining with a good atmosphere and Connery displaying the charisma that was about to make him a major star (plus a nicely underplayed turn from Lom as the villain). But it's too conventional in its plotting and lacking great action scenes to be up to HD's level.Still, TFC is a decent film and worth a look

MARIO GAUCI One of a clutch of vintage British thrillers released by Anchor Bay Entertainment (back when it was still going by that name and enjoying its deserved status as one of the major specialist DVD labels) that also included two superior Stanley Baker efforts – Val Guest's HELL IS A CITY (1959) and Joseph Losey's THE CRIMINAL (1960). That THE FRIGHTENING CITY comes up short when compared to these two movies is perhaps unsurprising in view of the fact that director John Lemont – best-known today (if at all) for the campy monster flick KONGA (1961) – is clearly not the equal of either Guest or Losey at the top of their game. In fact, there is little evidence here of anything as individualistic as Guest's combination of wit and grit or Losey's extraordinary expressionist pyrotechnics and, ultimately, the film rises or falls on the strength of its actors. A pre-Bond Sean Connery may be third billed but he commendably carries the film on his shoulders for much of its running time; smooth-talking shady lawyer Herbert Lom is also quite good but his screen time is much less than his top billing might suggest; lock-jawed copper John Gregson adequately stands up to both men, pitting them one against the other when Connery's friend (a reluctant 'director' in Lom's crime syndicate) is shot in cold blood by Lom's sleazy partner (a scene-stealing turn from Alfred Marks). Of course, a gangster is only as good as his moll and Lom's is ambitious French singer Yvonne Romain (actually, she's half-Maltese!) who soon gets under Connery's skin (or should I say bed sheets) but does not think twice of betraying his whereabouts to the police when they threaten her with deportation! Also featured in the cast are Kenneth Griffith (as Connery's crippled ex-partner from his cat burglar days) and Italian restaurateur George Pastell (who soon finds out that 'accidents will happen' when one does not pay his dues in protection money).

withnail-4 The film is above average, well made, but lacking the style or brio that makes a good US or Italian crime film really fun. Sean Connery is great to look at in his leaner, pre-Bond form, and Herbert Lom is excellent. Connery plays a low-level mobster, and Lom is the criminal mastermind behind the mobs. It's interesting to contrast the portrayal of violence in this early 60s British film with American or other later portrayals. The approach here is so banal, and the mobsters are obviously pulling their punches in the fight scenes. The director seems completely uninterested in making the violence realistic or exciting. The final fight, however, has some choreography to it and a few interesting touches. In summation, a paint by numbers job, competent British B film, uninspired film making, but good nostalgic fun.