Although I had not intended this current noir marathon to be a tribute to any one particular actor, this will be my fourth Ray Milland movie in a row! Originally hailing from Wales, this sees the Hollywood star making a welcome return to his homeland (and its environs) – albeit playing an American! – for a rather unusual Hitchcockian post-war thriller. The story deals with a salvage captain leaving Florida to go all over the United Kingdom (Wales, Scotland and London) – the roundabout nature of the route anticipating the Hitchcock classic NORTH BY NORTHWEST (1959) – to seek out the surviving members of a commando team who operated in France during WWII and unravel the mysterious events surrounding his younger brother's death.
This largely reticent and unhelpful bunch includes a wonderful turn by Marius Goring (who has now become a celebrated ballet choreographer), Hugh Sinclair (the former commando leader who is now a brooding baronet), Naunton Wayne (a clear nod toward Hitchcock right there, having acquired a reputation playing one of two cricket-crazy twits in THE LADY VANISHES [1938] – now a chatty, crooked car salesman) and Edward Rigby (playing a Welshman, thus obviously a miner!). Notable support, then, is provided by the lovely Patricia Roc (as Sinclair's intended, and whose 'meeting cute' with Milland precipitates a bumpy affair – again a' la NORTH BY NORTHWEST – but with the expected happy ending) as well as the ever-reliable Reginald Beckwith (from director Tourneur's later NIGHT OF THE DEMON [1957], as Goring's long-suffering partner).
Despite the rather glum aura of the proceedings, this is less a noir than a whodunnit and, as if to emphasize that very difference, we are regaled with celebrated cinematographer Oswald Morris (and equally notable camera operators Gilbert Taylor and Arthur Ibbetson)'s breathtaking location shooting – the downbeat revelation at the climax, taking place in an open field, is particularly masterfully handled – as opposed to the claustrophobic studio sets usually associated with the former genre. For the record, Milland himself had starred in Fritz Lang's superb wartime thriller MINISTRY OF FEAR (1944) boasting a famously inaccurate Hollywood rendition of London!
Another link to "The Master Of Suspense" is the presence of co-producer Joan Harrison (a longtime Hitchcock collaborator), even if the 'whistled tune' giveaway device immediately reminds one of Lang's child-murdering masterpiece M (1931)! In the end, one should be grateful Jacques Tourneur's first working trip to England here worked as well as it did – since, in six years' time, this would be followed by his last great (and one of his best-ever) film i.e. the afore-mentioned NIGHT OF THE DEMON.
This largely reticent and unhelpful bunch includes a wonderful turn by Marius Goring (who has now become a celebrated ballet choreographer), Hugh Sinclair (the former commando leader who is now a brooding baronet), Naunton Wayne (a clear nod toward Hitchcock right there, having acquired a reputation playing one of two cricket-crazy twits in THE LADY VANISHES [1938] – now a chatty, crooked car salesman) and Edward Rigby (playing a Welshman, thus obviously a miner!). Notable support, then, is provided by the lovely Patricia Roc (as Sinclair's intended, and whose 'meeting cute' with Milland precipitates a bumpy affair – again a' la NORTH BY NORTHWEST – but with the expected happy ending) as well as the ever-reliable Reginald Beckwith (from director Tourneur's later NIGHT OF THE DEMON [1957], as Goring's long-suffering partner).
Despite the rather glum aura of the proceedings, this is less a noir than a whodunnit and, as if to emphasize that very difference, we are regaled with celebrated cinematographer Oswald Morris (and equally notable camera operators Gilbert Taylor and Arthur Ibbetson)'s breathtaking location shooting – the downbeat revelation at the climax, taking place in an open field, is particularly masterfully handled – as opposed to the claustrophobic studio sets usually associated with the former genre. For the record, Milland himself had starred in Fritz Lang's superb wartime thriller MINISTRY OF FEAR (1944) boasting a famously inaccurate Hollywood rendition of London!
Another link to "The Master Of Suspense" is the presence of co-producer Joan Harrison (a longtime Hitchcock collaborator), even if the 'whistled tune' giveaway device immediately reminds one of Lang's child-murdering masterpiece M (1931)! In the end, one should be grateful Jacques Tourneur's first working trip to England here worked as well as it did – since, in six years' time, this would be followed by his last great (and one of his best-ever) film i.e. the afore-mentioned NIGHT OF THE DEMON.