penfeidr Watch the very beginning carefully. Particularly the bit about the man behind borrowing the in-flight magazine it is a very important part of the script that most reviewers seem to have missed. The end will then make sense. The atmosphere of the film is excellent, particularly if you lived in London during the 1950s. PS: remember that when you dream anything can happen.

mark.waltz When in the middle of this film, Lloyd Bridges asks about a certain clue, "What do you make of it?", you may, like me, expect the flamboyant Johnny from "Airplane!" to jump in and say, "A hat, a broach, a pterodactyl!". Yes, like Peter Graves, Robert Stack and Leslie Nielsen, the Bridges patriarch started off in dramatic roles, yet found his niche in spoofing his own image through comedy. It is difficult to separated him from these roles even though he originally played either heavies or action heroes before changing his image by stating, "Looks like I picked the wrong week to stop sniffing glue!" Here, he's all serious, an American visiting England who was at the airport when a sniper shot a mystery man who turns out to be the other man in a triangle with Bridges' estranged girlfriend (Moira Lister). Bridges learns the truth and details about his girlfriend's secret life that leads him into all sorts of intrigue.American stars in British film noir and thrillers added a smooth touch to the stiff upper lip pretense of the English in all sorts of parts, good and evil, and the results could be very mixed at times. The Hammer Noir was decidedly mixed, and this ranks among them as an acceptable, if unremarkable, thriller with moments of tension and other sequences sometimes dull and slowly paced. Bridges stands out like a sore thumb among the rest of the cast, and if it wasn't for some crafty dark photography, this might well have fallen below the mark.So try to put aside your desire to quote him from "Airplane!" or the "Hot Shots" movies and instead, take a trip into the dives of London, Music Halls and pups and let Bridges remind you of what a serious actor he used to be before a diving suit and the Zucker Brothers changed his image forever.

Theo Robertson Frank Pryor a former American GI visits London . As he gets off the plane he asks a man for a light . The man kindly does so and is shot by a sniper . The police reveal that the dead man was Kendal Brown a known criminal . Frank Pryor goes to visit an old flame Pauline French who it later transpires knew Kendal Brown I came to write up my review of THE LIMPING MAN and before did so looked through the comments on this page which are unanimously along the lines of " OMG what a terrible ending that totally ruined the film " but I can't help thinking everyone is missing the point and are tearing away at the ending without giving too much scrutiny to the rest of the film which doesn't hold up without that ending The problem I had is that it's the lead up to the ending that is the problem . A man is shot dead while an American is visiting London and yet everyone the American meets in London knew Kendal Brown in some capacity including the love interest of the American Frank Pryor . London of course is a city of several million people and yet everyone knew Kendal Brown ? Throughout the film I kept chuckling " Yeah right " then when the shock twist ending happened it did make a sense of sort within the film's own reality . It might be a cop out but how many films have you seen where everything relies on coincidence and no shock plot twist happens ? It's a bonkers ending that might cheat its audience but at least it makes sense of sorts

shazam1950 Though I rated it a 6 I watch it more than some of my other favorite choices. When the plot goes to the music hall theater the song that Helene Cordet ,the magician's assistant, sings while doing the act just knocks me out. Her french accent and slight lisp somehow combine with the music arrangement to just make the movie better for me. Maybe it injects a bit of light humor in a suspense drama. In fact I enjoyed the next musical act about dancing on a big piano keyboard MORE THAN 3 DECADES Before THE MOVIE 'big". But then I always pay attention to musical interludes in movies even though they are suppose to be incidental. I agree with other reviewers about the early cameo bits by Jean Marsh, Rachel Roberts and the Lockeed Constellation. But I frequently find myself putting the movie and going to scene 5 just to hear her sing 'Hey Presto' again. In fact similar music interludes from B movies like MAN FROM CAIRO, CARRY ON SPYING,THE RAWHIDE YEARS,GIRLS AT SEA, make me wish that the soundtracks for audio use were available.