hwg1957-102-265704 Starting off in France before World War I this is an engrossing story of a repressed senior detective trying to imprison again a thief, who being charming and debonair, is his complete opposite. They both become connected with the same woman though the detective's relationship is more platonic. The thief gets imprisoned but the onset of war brings changes to the detective, the thief and the woman. The firmly quietly exerts a grip with suspense and humour until the poignant ending. It has fine direction from Robert Hamer and an excellent script by Robert Westerby.As Fernand Maubert the detective Eric Portman is superb, revealing the depths of a clever but lonely man. Equally good is Guy Rolfe as the gentleman thief Philippe Lodocq. Their scenes together are the highlights of the film. Praise also should go to Nadia Gray, in only her second film, as Madeleine Saincaize who gets better as the story progresses. Good supporting performances come from a welcome set of British character actors. It would be unfair to single anyone out as they are all solid in their roles.The music score by Georges Auric gets too cacophonous at times but otherwise the elements of editing, cinematography and art direction add greatly to the movie. It's well worth seeing.

robert-temple-1 This is a slow-paced but solid film about a police inspector, played by the calm and unruffled Eric Portman (the spider) and his quarry, a master thief and safe cracker (the fly), who is played by Guy Rolfe. Rolfe was excellent in another film which he made this same year, PORTRAIT FROM LIFE (1949, see my review). He is just as good in this one as well, though playing a very different type of character, and one far less sympathetic. Robert Hamer directed this, one of only 14 films which he directed. He retired from the screen at age 49 and died at age 52, hence the small number of his films. He is best remembered for directing KIND HEARTS AND CORONETS (1949), this very same year, with Alec Guinness. The love interest in this story is played by the Romanian actress Nadia Gray, who has both men in her thrall but has a wild passion for Rolfe which at first he does not return. This was only her second film, the first being a French film in this same year which has never been reviewed on IMDb and may be lost, or at least lost to memory. Portman finally catches the elusive Rolfe and send him to prison, but then a wartime situation arises which requires a crucial document to be stolen from the safe of The German Legation in Switzerland. Portman recruits Rolfe for this task and the thief thus uses his safe-cracking and building-climbing skills to get the document and fight the Germans. It is a good film, well made, but somewhat slow. It would not have seemed so in 1949, perhaps, but things have speeded up now.

robertino1954 This is an unusual film from the highly-rated Robert Hamer containing two superb performances from Eric Portman and the statuesque Guy Rolfe. Rolfe is a revelation in that he is in no way overshadowed by Portman and his physical presence dominates his scenes. The script matches the performances and the locations, direction, lighting, and camera-work ensure is it wholly convincing throughout. Set in France just before and during the Great War, there are some truly tense and suspenseful scenes and the film holds you from start to finish. It is a picture which, because of its unusual atmosphere and setting, together with the performances and story-line, stays with you. The last two scenes are touching and beautifully played. Why more was not made of Guy Rolfe's talent and presence by giving him more prime roles in his career is a mystery to me. Try not to miss this one.

whitec-3 The Spider and The Fly (1949) appeared on Turner Classic Movies in a pre-dawn showing this November 2008. Having trouble sleeping, I met it halfway through and wished I'd recorded it entirely.The acting was splendid--the police inspector is a real pro, and Guy Rolfe as the master thief is attractively otherworldly. Like Bronson, McQueen, and Mitchum, Rolfe makes others wait for him to respond. The male leads develop a complex relationship: one pursues the other, they both love the same woman, then they need each other in the face of a common enemy.The supporting roles range in style from perfect British competence (the French minister of war) to dreamlike (the boy who helps the thief escape looks like a child version of the thief) to comedy (the lovestruck housemaid the thief gently seduces to gain access to a neighbor's window).The photography and sets are also dreamy, mostly shot by night, with long hallways down which the preternaturally tall thief moves, almost without one seeing him move.The plot features a quietly serious patriotic theme in which the thief regains the classic French status of citizen. That theme takes another unexpected step to end with a ground-level prophecy of tragedy. Not a great film, but well-made and at moments strangely lovely. I returned to bed and slept better.