Lynne Marsden (Maureen Connell) turns detective to avenge the death of her brother, an undercover CID man who was murdered while investigating a diamond smuggling racket. She takes a job at a Soho nightclub owned by the crime lord Nicky Venning (Alan Tilvern). Here, she strikes up a relationship with the club manager Sam Warren (Bill Nagy). Later, she overhears Venning and his men planning a raid on a jewelers in an upstairs room and tips off Detective Inspector Willoughby (Anthony Oliver) and the would be robbers are caught in the act. Meanwhile, Venning orders the murder of Francine, a French dancer at his club, who became jealous of his interest in Lynne (ditching her in the process) and threatened to expose his criminal activities. He wines and dines Lynne, much to the envy of Sam, before telling her that he is going to Amsterdam on business. In reality, he is arranging for the next shipment of diamonds to be smuggled into the UK. She asks if she can accompany him and he refuses, but invites her to move into his lavish Chelsea pad. Lynne tips off Willoughby who is becoming increasingly concerned for her safety so he puts one of his men on her tail. It proves to be a wise move since Venning's hired killer, Hewson, discovers that Lynne is the sister of the undercover policeman they murdered. Lynne is kidnapped and held on Venning's boat at a launch in Brampton. Venning plans to skip the country taking Lynne with him and plans to kill her once they are safely out of the way. Can Willoughby's men catch him in time to save her life?
Originally released as the support feature to the Marlon Brando thriller Cape Fear, this unpretentious, low budget British crime drama made by the much maligned Butcher's Film Distributors would be a regular feature on late night TV during the 1990's along with several other of that company's output. Nearly two decades later, it secured a DVD release paired with Francis Searle's crime thriller Gaolbreak.
As you can see from the synopsis, it has an unremarkable plot with the added addition of a young, strong willed and resourceful working girl turning detective in order to bring a loved one's killers to book. It doesn't come off all too well because Maureen Connell, although a pleasant and likeable actress, lacks the dramatic range to convey the anger, passion and vengeful spirit within her character to be convincing. We know, for instance, that Lynne Marsden was very close to her brother since their parents died when they were young and no doubt they were very dependent on each other as a result of that. The trouble is we do not get to see them interrelate prior to his death so the emotional element is practically non existent and it is difficult for us to sympathise with her plight. Her scenes with Venning lack potency too as a result of her acting deficiencies. In fact, Lynne seems more interested in being made a fuss of by him - flowers, drinks, clothes, moving into his luxury Chelsea home and foreign holidays - rather than getting even with him. Alan Tilvern's villain is a woefully underdeveloped part too, it must be said, as he doesn't ring true as a big figure in the Capital's underworld. The sort of guy to whom all women are just two a penny to be loved and pampered until he gets fed up with them, dumps them or in some cases murders them if they threaten to expose his criminal activities. In consequence, any opportunities for suspense, tension and a sense of alarm are lost and we are led to the conclusion that if there is danger by Lynne's side then she seems oblivious to it. Her budding romance with the club manager Sam Warren is poorly developed too.
Whatever action there is, an opening heist on a security van, a jewelers, a murder and a boat finale in Brampton are either handled with the bare minimum of imagination or take place off screen. The addition of two club numbers, 'Danger By My Side' and 'A Simple Girl' (complete with bad dancing) do the production no favours either.
Yet, fans of this area of British film making will find something to enjoy since some of the London locations are pleasant to watch and, although my favourite film guide says "never will an hour feel so much like an eternity", it is actually quite snappily directed so it is never boring. It was the last film to be directed by Charles Saunders.
Originally released as the support feature to the Marlon Brando thriller Cape Fear, this unpretentious, low budget British crime drama made by the much maligned Butcher's Film Distributors would be a regular feature on late night TV during the 1990's along with several other of that company's output. Nearly two decades later, it secured a DVD release paired with Francis Searle's crime thriller Gaolbreak.
As you can see from the synopsis, it has an unremarkable plot with the added addition of a young, strong willed and resourceful working girl turning detective in order to bring a loved one's killers to book. It doesn't come off all too well because Maureen Connell, although a pleasant and likeable actress, lacks the dramatic range to convey the anger, passion and vengeful spirit within her character to be convincing. We know, for instance, that Lynne Marsden was very close to her brother since their parents died when they were young and no doubt they were very dependent on each other as a result of that. The trouble is we do not get to see them interrelate prior to his death so the emotional element is practically non existent and it is difficult for us to sympathise with her plight. Her scenes with Venning lack potency too as a result of her acting deficiencies. In fact, Lynne seems more interested in being made a fuss of by him - flowers, drinks, clothes, moving into his luxury Chelsea home and foreign holidays - rather than getting even with him. Alan Tilvern's villain is a woefully underdeveloped part too, it must be said, as he doesn't ring true as a big figure in the Capital's underworld. The sort of guy to whom all women are just two a penny to be loved and pampered until he gets fed up with them, dumps them or in some cases murders them if they threaten to expose his criminal activities. In consequence, any opportunities for suspense, tension and a sense of alarm are lost and we are led to the conclusion that if there is danger by Lynne's side then she seems oblivious to it. Her budding romance with the club manager Sam Warren is poorly developed too.
Whatever action there is, an opening heist on a security van, a jewelers, a murder and a boat finale in Brampton are either handled with the bare minimum of imagination or take place off screen. The addition of two club numbers, 'Danger By My Side' and 'A Simple Girl' (complete with bad dancing) do the production no favours either.
Yet, fans of this area of British film making will find something to enjoy since some of the London locations are pleasant to watch and, although my favourite film guide says "never will an hour feel so much like an eternity", it is actually quite snappily directed so it is never boring. It was the last film to be directed by Charles Saunders.