When you watch a British crime film from the 1950s you expect that the gang boss will be played by Herbert Lom,or Martin Benson or maybe Eric Pohlman,but Jayne Mansfield!\whereas Joan Crawford is a tigress when she is a gang boss,Eg Johnny Notorious,Mansfield is a pussycat.She has all the toughness of a rotten tomato.Once the going gets tough she gets going and Carl Mohne takes over.The best she can do is simper in a variety of wigs and a different outfit for every scene.She simpers a song in a sort of Monroe imitation.She is in short dreadful.Quayle plays against type as her crook lover who went to prison but kept the loot.If you were to take Monroe out of this film you would have a good film.Nevertheless when Mansfield is off the screen the film is quite entertaining.
21 Reviews
Surprisingly Violent!
TondaCoolwal14 February 2019
Warning: Spoilers
Steamy Brit film-noir with Jayne Mansfield as the hook. Although she looks really weird with dark hair at the start of this film. Unbelievably cast as the gang boss, she apparently masterminds a number of heists which tend to rely on bludgeoning the victims before making a getaway in a fast car which leaves the Police helpless. Anthony Quayle is also strangely cast as the patsy she seduces to assist with a bullion robbery, and then shops him! However, he's already hidden the loot so the gang have to wait five years before they can lean on him. A very violent film for its time, Mansfield stubs a cigarette out on a man's hand, an elderly lady is savagely beaten during a kidnapping and one of the gang is worked over by the Police. Exciting action too. Jayne throws a big Jag around London's rain-soaked streets like a rally driver. A pursuing Police car turns over and crashes spectacularly and, in the final chase Anthony Quayle races after a departing train in an MG before boarding it by running alongside on the track and swinging from a door handle. At the same time his little boy is running along the track towards the train, having been encouraged to play "chicken" by the sadistic Buddy. Will he survive? If you can excuse the incongruous casting this film is well worth a look.
An exciting crime thriller
dnhalliday14 February 2019
This film contains a surprisingly high level of violence; in particular the kidnapping scene where the boy's grandmother is beaten up. Even nowadays when gory violence seems to be the norm, it mainly happens to men and I think most film producers would hesitate before depicting a helpless old lady being beaten senseless in prolonged and graphic detail, in this case made more realistic and believable by good acting from Barbara Mullen.
The same thug who beat her is later arrested in his bedroom by the police sending in a dog followed by three heavies who give him a savage beating before driving him to the station where he is threatened with more unless he gives the location of the boy.
Whether her acting is good or bad the producers probably wanted Jayne Mansfield as added glamour which she provides by looking stunning particularly towards the end when she sings in her club.
Overall this is an exciting and entertaining thriller.
Very acceptable crime film
Marlburian10 September 2016
One of the better London-based crime films of the 1950s/1960s to appear on the Talking Pictures channel. It was interesting to see Anthony Quayle as something of an underdog, and I always puzzle about Edward Judd's transformation as an actor. In "The Challenge", he looks a bit seedy, not helped by unflattering baldness, whereas after some 50 years I can still recall his screen presence in some TV series or other - helped by a toupee, a bit of burliness and a smart suit.
I have a feeling that, as with so many films, the regional railway stock and the London terminus didn't match. (And even in those days did drivers really leave ignition keys in their cars?) Despite what others have said, I thought that Jayne Mansfield was adequate, though I fast-forwarded through her song.
The poster for the film shown here on IMDb titillates misleadingly. I'm not sure who the cavorting lady is - Billy before she went blonde or the stripper whose act we never got to see completely?
I have a feeling that, as with so many films, the regional railway stock and the London terminus didn't match. (And even in those days did drivers really leave ignition keys in their cars?) Despite what others have said, I thought that Jayne Mansfield was adequate, though I fast-forwarded through her song.
The poster for the film shown here on IMDb titillates misleadingly. I'm not sure who the cavorting lady is - Billy before she went blonde or the stripper whose act we never got to see completely?
There is good British Noir - and then there's this
prustage9530 January 2020
There are many really good British noir films that exploit the seediness of post-war London, set around Soho and involving realistic underground criminality and making very watchable drama out of 1950's London low-life.
But this isn't that kind of film.
For some reason, the producers decided to make a Hollywood type noir - ignoring the excellent genre work done by other British producers and creating a totally unbelievable poor-mans version of a movie that should have had Bogart and Raft in it but instead had a collection of totally out-of-place British actors - and - Jayne Mansfield.
Mansfield whispers - Marilyn Monroe style - her way through the part and it is obvious that her attempt at a sultry voice has to be overdubbed for many of her scenes. The rest of the cast try their best to be American gangsters (at one point Anthony Quayle actually calls somebody a "dirty-rat") and betray their true acting ability in a poor attempt to be something they aren't.
The cinematography is good - lots of moody lighting, clever angles and the direction is sharp, closely cut with some good set scenes. But you always feel that this is a British attempt at making a film that is totally un-British.
The film gets better as it progresses as the story takes over and Quayle's excellent performance lifts the film out of its misery into something that is finally worth watching. But you always feel that Quayle is on a damage reduction exercise trying his best to rescue the awful script and Mansfield's execrable acting and try and create something worthwhile. Regrettably, the forces of mediocrity win out.
But this isn't that kind of film.
For some reason, the producers decided to make a Hollywood type noir - ignoring the excellent genre work done by other British producers and creating a totally unbelievable poor-mans version of a movie that should have had Bogart and Raft in it but instead had a collection of totally out-of-place British actors - and - Jayne Mansfield.
Mansfield whispers - Marilyn Monroe style - her way through the part and it is obvious that her attempt at a sultry voice has to be overdubbed for many of her scenes. The rest of the cast try their best to be American gangsters (at one point Anthony Quayle actually calls somebody a "dirty-rat") and betray their true acting ability in a poor attempt to be something they aren't.
The cinematography is good - lots of moody lighting, clever angles and the direction is sharp, closely cut with some good set scenes. But you always feel that this is a British attempt at making a film that is totally un-British.
The film gets better as it progresses as the story takes over and Quayle's excellent performance lifts the film out of its misery into something that is finally worth watching. But you always feel that Quayle is on a damage reduction exercise trying his best to rescue the awful script and Mansfield's execrable acting and try and create something worthwhile. Regrettably, the forces of mediocrity win out.
Not nearly as bad as people make out.
MOscarbradley5 December 2015
"The Challenge" (or if you prefer "It Takes a Thief"), may not be "Rififi" or "The Killing" but this John Gilling directed crime movie isn't nearly as bad as people would have you believe. In fact, it's a consistently fast-moving, surprisingly tough picture with a decent cast that includes Anthony Quale and Carl Mohner as crooks under the thumb of unlikely crime boss Jayne Mansfield. Yes, that's right - Jayne Mansfield, who isn't just miscast here but is perfectly dreadful and was probably the main reason the movie bombed, (was casting her really such a good idea in the first place?). Still, she turns almost every line she utters into a howler and is just one of the reasons the movie is so damned entertaining. Nice black and white photography, too, by Gordon Dines and a good use of locations.
SPOILERS ** This could have had potential
naseby15 November 2015
Warning: Spoilers
Strange Brit film-noir, in the sense Jayne Mansfield is playing a gang leader (and not even the moll). Anthony Quayle, playing out of character, (Jim) (if you 'don't' include 'Ice Cold in Alex, where he makes good anyway/let off).
Simply said, Mansfield's 'Billie' character, sets up her then lover (Quayle) into taking part in a robbery. Carl Mohne as 'Kristy' her 'real'(?) lover, 'makes a phone call to the police to land Jim in it, but it looks like it still had Billie's blessing to land Quayle in it too??? Although the strange thing is, she's left Jim to hide the money without anyone knowing, (including her, where he stashed it). Kristy, thinking she DOES know, is hanging around. Meanwhile, Jim takes the rap because of the 'phone call, does his stretch and is released. However, all in the meantime Billie and the gang, have done numerous robberies whilst Jim was inside. This I don't really get, as Mansfield/Billie didn't know/locate the money from the first robbery with Jim, carries on robbing in the meantime. It's not as if she had Jim's money and was going to use it to finance jobs.
On Jim's release, Mansfield and the gang want the money from the first job, Jim of course rebels/refuses for taking the rap - it's not long before the gang decide or rather Kristy does, to kidnap Jim's son, Joey (typical 60's name) in return in trying to get him to blab.
Mansfield though is not warmed to the idea of harming or even taking Joey, as Kristy is a psychopath. This is where the film adds a bit more tension in the overall plot of finding Joey, who's in the hands of one of the gang, who's happy to kill joey if Jim isn't forthcoming wit the loot.
Edward Judd plays a good role as the Inspector after both Mansfield's gang and all the loot from all the robberies as well as trying to wrest Joey from Kristy's minions.
Predictable kind of turns with cops and robbers etc., with some fair action/fighting and tension. It has to be said Quayle played a great role and very well. Mansfield, on the other hand also predictably still plays a dumb blonde role too much like Marilyn Monroe, spoiling it, though for me and the film. She does a good about-face with Mohne's character realising he's a dangerous psycho though. One thing, there's a plot part of the loot being buried and then found to have later, explosives covering it - Jim goes to find it surprised of course, but what's more surprising is the fact the explosives are left out in the open/unguarded!!!
Simply said, Mansfield's 'Billie' character, sets up her then lover (Quayle) into taking part in a robbery. Carl Mohne as 'Kristy' her 'real'(?) lover, 'makes a phone call to the police to land Jim in it, but it looks like it still had Billie's blessing to land Quayle in it too??? Although the strange thing is, she's left Jim to hide the money without anyone knowing, (including her, where he stashed it). Kristy, thinking she DOES know, is hanging around. Meanwhile, Jim takes the rap because of the 'phone call, does his stretch and is released. However, all in the meantime Billie and the gang, have done numerous robberies whilst Jim was inside. This I don't really get, as Mansfield/Billie didn't know/locate the money from the first robbery with Jim, carries on robbing in the meantime. It's not as if she had Jim's money and was going to use it to finance jobs.
On Jim's release, Mansfield and the gang want the money from the first job, Jim of course rebels/refuses for taking the rap - it's not long before the gang decide or rather Kristy does, to kidnap Jim's son, Joey (typical 60's name) in return in trying to get him to blab.
Mansfield though is not warmed to the idea of harming or even taking Joey, as Kristy is a psychopath. This is where the film adds a bit more tension in the overall plot of finding Joey, who's in the hands of one of the gang, who's happy to kill joey if Jim isn't forthcoming wit the loot.
Edward Judd plays a good role as the Inspector after both Mansfield's gang and all the loot from all the robberies as well as trying to wrest Joey from Kristy's minions.
Predictable kind of turns with cops and robbers etc., with some fair action/fighting and tension. It has to be said Quayle played a great role and very well. Mansfield, on the other hand also predictably still plays a dumb blonde role too much like Marilyn Monroe, spoiling it, though for me and the film. She does a good about-face with Mohne's character realising he's a dangerous psycho though. One thing, there's a plot part of the loot being buried and then found to have later, explosives covering it - Jim goes to find it surprised of course, but what's more surprising is the fact the explosives are left out in the open/unguarded!!!
Later British Noir
JamesHitchcock8 December 2022
It is sometimes said that the age of film noir was over by the end of the fifties; Orson Welles's "Touch of Evil" from 1958 is sometimes regarded as marking the end of the line. This may be true of America, the genre's original home, but in Britain noir survived into the sixties. This may be because we were slower than America to adopt colour television, meaning that there was still a market for black-and-white films here. "The Challenge" from 1960 is an example of later British noir. (In America it was shown as "It Takes a Thief", but I will use the original British title).
Jim Maxton, a lorry driver and petty criminal, is persuaded by his gang leader lover Billy to take part in a big robbery. (And no, this isn't a rare example of a film from the early sixties with a gay theme. Although the cast-list spells her name as "Billy" rather than "Billie", she is a woman). He is betrayed to the police, arrested, convicted and sentenced to eight years in jail, of which he serves five, while the rest of the gang remain at liberty. Upon release, Maxton tries to go straight and resumes his career as a lorry driver, but it turns out that he is the only one of the gang who knows where the loot from the robbery is buried. In an attempt to force him to reveal its whereabouts, his former partners in crime kidnap his young son Joey and threaten the boy's life.
Contrary to what one reviewer states, Jayne Mansfield was not a starlet at the start of her career when she made this film. Her career as a Hollywood leading lady was a relatively short one, largely because she was seen as a sort of poor man's Marilyn Monroe. She was not without acting talent, but producers preferred to cast her in undemanding roles in light comedies which showcased her voluptuous figure. (Something similar happened with Diana Dors in Britain). By 1960 her popularity in America was waning, and she tried to reinvent herself in Europe. This was her only British film, but she was also to appear in Italian, German and Greek ones.
Mansfield is not particularly convincing as a female London gang boss, especially as her accent seems stuck halfway across the Atlantic, and we are never sure whether Billy is supposed to be completely ruthless or whether she is partly redeemed by a softer side to her nature. There are better performances from the actors playing two other members of the gang, Carl Möhner as Kristy and Peter Reynolds as Buddy. Kristy, who definitely has no softer side to his nature, is Maxton's rival for Billy's affections and probably the man who informed on Maxton to the police. As for Buddy he is not so much ruthless as psychopathic; he has responsibility for guarding the kidnapped Joey and devises a sadistic scheme to bring about the boy's death and make it look like an accident.
The best acting, however, comes from Anthony Quayle as Maxton. Quayle was a leading light in the British theatre, both as actor and director, but never had quite the same success in the cinema, possibly because (unlike, say, Olivier or Burton) he never really had the looks to be a matinee idol. Most of his films were British- he never attempted to conquer Hollywood- and he mostly appeared in supporting roles. In "The Challenge", however, he had a chance to play a leading role, and made the most of it. His Maxton, despite his criminal past, is a man with a certain decency, far more so than the other members of his gang, and the nearest thing the film has to a hero. In some ways the film is a standard crime thriller, but Quayle's performance, together with a well-written script and a suspenseful ending, is the main reason why it deserves an above-average mark. 6/10.
Jim Maxton, a lorry driver and petty criminal, is persuaded by his gang leader lover Billy to take part in a big robbery. (And no, this isn't a rare example of a film from the early sixties with a gay theme. Although the cast-list spells her name as "Billy" rather than "Billie", she is a woman). He is betrayed to the police, arrested, convicted and sentenced to eight years in jail, of which he serves five, while the rest of the gang remain at liberty. Upon release, Maxton tries to go straight and resumes his career as a lorry driver, but it turns out that he is the only one of the gang who knows where the loot from the robbery is buried. In an attempt to force him to reveal its whereabouts, his former partners in crime kidnap his young son Joey and threaten the boy's life.
Contrary to what one reviewer states, Jayne Mansfield was not a starlet at the start of her career when she made this film. Her career as a Hollywood leading lady was a relatively short one, largely because she was seen as a sort of poor man's Marilyn Monroe. She was not without acting talent, but producers preferred to cast her in undemanding roles in light comedies which showcased her voluptuous figure. (Something similar happened with Diana Dors in Britain). By 1960 her popularity in America was waning, and she tried to reinvent herself in Europe. This was her only British film, but she was also to appear in Italian, German and Greek ones.
Mansfield is not particularly convincing as a female London gang boss, especially as her accent seems stuck halfway across the Atlantic, and we are never sure whether Billy is supposed to be completely ruthless or whether she is partly redeemed by a softer side to her nature. There are better performances from the actors playing two other members of the gang, Carl Möhner as Kristy and Peter Reynolds as Buddy. Kristy, who definitely has no softer side to his nature, is Maxton's rival for Billy's affections and probably the man who informed on Maxton to the police. As for Buddy he is not so much ruthless as psychopathic; he has responsibility for guarding the kidnapped Joey and devises a sadistic scheme to bring about the boy's death and make it look like an accident.
The best acting, however, comes from Anthony Quayle as Maxton. Quayle was a leading light in the British theatre, both as actor and director, but never had quite the same success in the cinema, possibly because (unlike, say, Olivier or Burton) he never really had the looks to be a matinee idol. Most of his films were British- he never attempted to conquer Hollywood- and he mostly appeared in supporting roles. In "The Challenge", however, he had a chance to play a leading role, and made the most of it. His Maxton, despite his criminal past, is a man with a certain decency, far more so than the other members of his gang, and the nearest thing the film has to a hero. In some ways the film is a standard crime thriller, but Quayle's performance, together with a well-written script and a suspenseful ending, is the main reason why it deserves an above-average mark. 6/10.
With a few changes, this film could have been pretty good.
planktonrules4 February 2014
The setup for "It Takes A Thief" really doesn't make a lot of sense--and that is a huge problem. It begins with Jim (Anthony Quayle) falling for Billy (Jayne Mansfield). He doesn't realize that Billy is a cold and calculating sort--and she is setting him up. She convinces him to join in on a heist and he agrees. Now here is the part that makes no sense at all--Jim is responsible for hiding the money and then someone in the gang lets the cops know he was in on the crime and he's sent to prison. Why turn Jim in to the police? Jim would either return the money to the authorities OR he'd sit on it until after he's out of prison--and that could be years. It simply makes little sense. And for some time you aren't sure if Billy did this or perhaps Kristy--the brooding gang member who appears to have an extremely close relationship with Billy.
Regardless, several years pass and Jim has now done his time--and the money is still hidden. He has no intention of returning to his life of crime--even though the old gang is pressuring him to do so because they want the loot. When he refuses to cooperate with them, the gang turns up the pressure by kidnapping Jim's son. At the same time, the police are keeping an eye on Jim because they, too, want the money as well. With all this pressure on him, what is he to do?
Aside from a main plot idea that makes little sense, "It Takes a Thief" has several other things working against it. The big one is the odd casting of Mansfield considering the film is set in England. Plus, the pairing of the distinguished actor, Anthony Quayle with Jayne Mansfield is just plain weird. Finally, the DVD print is pretty bad--making the viewing experience less than stellar. It's really sad because apart from the weird casting strange plot about Jim being turned it, it's a very good noir sort of film. The film has a lot of tension and the scenes involving the search for the kid late in the film were awfully good.
Regardless, several years pass and Jim has now done his time--and the money is still hidden. He has no intention of returning to his life of crime--even though the old gang is pressuring him to do so because they want the loot. When he refuses to cooperate with them, the gang turns up the pressure by kidnapping Jim's son. At the same time, the police are keeping an eye on Jim because they, too, want the money as well. With all this pressure on him, what is he to do?
Aside from a main plot idea that makes little sense, "It Takes a Thief" has several other things working against it. The big one is the odd casting of Mansfield considering the film is set in England. Plus, the pairing of the distinguished actor, Anthony Quayle with Jayne Mansfield is just plain weird. Finally, the DVD print is pretty bad--making the viewing experience less than stellar. It's really sad because apart from the weird casting strange plot about Jim being turned it, it's a very good noir sort of film. The film has a lot of tension and the scenes involving the search for the kid late in the film were awfully good.
A stylishly mounted, frequently volatile, jazzy-cool, early 60s Brit-Noir!
Weirdling_Wolf23 June 2022
'The Challenge' (1960) is a stylishly mounted, frequently volatile, jazzy-cool early 60s Brit-Noir by extremely versatile Hammer Horror alumnus John Gilling, who consistently proved himself to be equally adept at crafting exciting, flint-edged pot-boilers along with his bravura, bodice-ripping, blood-chilling Gothic shockers! This compelling, well above average crime thriller has a cracking cast of agreeably familiar genre faces, with super charismatic screen icons Jayne Mansfield & Anthony Quayle making for an attractive, if somewhat tempestuous pair of ill-fated lovers. And it might be a fair assessment to claim that maestro John Gilling's shadow-steeped, cult crime caper The Challenge's more demonstrative charms are not so much hard-boiled, as fabulously full-bodied!!!
The circuitously double-dealing, gun-powdered plot is mesmerically matched by the no less fascinating twists and turns of The Challenge's preternaturally pulchritudinous star! This bracing, sporadically violent, action-packed B-Thriller finds the affable, hard luck Jim Maxton (Anthony Quayle) in shtook, having being used as a Patsy by an especially duplicitous, grubby-looking mob of scheming blaggers, glamorously led by deliciously Machiavellian matriarch Billy (Jayne Mansfield). Dynamically paced, competently written, 'The Challenge' percolates potently until its locomotive climax which delivers a deadly kick like a strychnine-laced espresso! The brooding, commanding actor Anthony Quayle is a seething ball of repressed anger, with the high-voltage, bra-burstingly buxom B-Movie bombshell Mansfield providing some welcome luminosity to this crepuscular crime caper!
The circuitously double-dealing, gun-powdered plot is mesmerically matched by the no less fascinating twists and turns of The Challenge's preternaturally pulchritudinous star! This bracing, sporadically violent, action-packed B-Thriller finds the affable, hard luck Jim Maxton (Anthony Quayle) in shtook, having being used as a Patsy by an especially duplicitous, grubby-looking mob of scheming blaggers, glamorously led by deliciously Machiavellian matriarch Billy (Jayne Mansfield). Dynamically paced, competently written, 'The Challenge' percolates potently until its locomotive climax which delivers a deadly kick like a strychnine-laced espresso! The brooding, commanding actor Anthony Quayle is a seething ball of repressed anger, with the high-voltage, bra-burstingly buxom B-Movie bombshell Mansfield providing some welcome luminosity to this crepuscular crime caper!
Jayne and the gangsters
BandSAboutMovies13 August 2020
Warning: Spoilers
Released in the U.S. as It Takes a Thief, this U.K. film has Jayne Mansfield as Billie, who acts demure by day but leads a gang of robbers at night. One of their old members, Maxton, went to jail and they think he knows where the big score they made got hidden. They take his son, despite the ending which lets everyone know that the money had been found three years ago.
The cast includes Anthony Quayle (The Guns of Navarone), Peter Reynolds (Devil Girl from Mars) and Robert Brown (who was M in the Bond films from Octopussy to Licence to Kill).
Director John Gilling has a pretty good resume of films in his history, like The Flesh and the Fiends, The Plague of the Zombies and The Mummy's Shroud. This isn't the best interesting movie you'll see, but as always, Mansfield rises above the material.
The cast includes Anthony Quayle (The Guns of Navarone), Peter Reynolds (Devil Girl from Mars) and Robert Brown (who was M in the Bond films from Octopussy to Licence to Kill).
Director John Gilling has a pretty good resume of films in his history, like The Flesh and the Fiends, The Plague of the Zombies and The Mummy's Shroud. This isn't the best interesting movie you'll see, but as always, Mansfield rises above the material.
Superbly acted and a MUST for Jayne Mansfield fans! *Possible Spoilers*
hilljayne6 May 2005
Warning: Spoilers
This is a very well acted British film starring superstar Jayne Mansfield and highly respected actor Anthony Quayle. The film begins as Jayne plays a ruthless villianness type woman who gets her kicks robbing banks and jewelry stores and such. She enlists the help of lover Quayle only he gets caught but doesn't rat out Jayne or her gang of thugs. While Quayle's character is in prison, Jayne continues the heists and eventually opens a club. Quayle gets out and beautiful Jaynie looks him up wanting the money he hid before he got caught. Eventually as Quayle refuses to help Jayne and the gang her thugs kidnap his son and chaos ensues. As you view the film you'll forget you are watching a shoddy copy of the tape. My tape is from one of those quickie $5.99 companies called EPI Entertainment Programs. Fans of Jayne Mansfield positively MUST have this in their collection as her performance totally dismisses the naysayers and she acts superbly. Yes I am a fan but I can still honestly say her acting is A+ in this. Many times people don't get past her beautiful face or incredible super figure and forget about her acting which totally shines in this. I also liked Barbara Mullen as Quayle's nervous wreck of a mother. Jayne and Anthony also have a lot of chemistry together. And we are treated to a lovely musical number by Jayne wearing a stunning and incredibly tight evening gown. A must see! I only hope this will be remastered and released to DVD ASAP!
Could have been better
peterwburrows-7077423 March 2021
Only Watch it for Anthony Quayle
LadyRowenaIvanhoe12 March 2005
The only good thing about this film is the performance of Anthony Quayle. He gives his character some depth and humanity. No wonder he was soon off to great films such as Laurence of Arabia. If you want a truly great performance by this actor watch Anne of the Thousand Days. His role in that film earned him an Academy Award nomination. The good thing about THIS film is that the plot was a great idea and the flow was pretty quick and kept you interested. What was awful was the quality of the picture and the sound. The actors were blurry and the voices did not match the lip movements. Why was so much wasted on what could have been a really decent movie? Perhaps age and a lack of good DVD quality is the problem? The movie will only be bearable to Anthony Quayle fans, Jayne Mansfield fans, or crime drama fans.
A Sentimental Journey
boblipton10 July 2021
Anthony Quayle is the only member of the gang the police catch and convict. He's also the only one who knows where the money is. It takes five years before he gets out. Police detective Dermot Walsh wants to track him to find out who's in the rest of the gang. The gang isn't so circuitous. They want the money. When Quayle says he can wait until they're not looking, they kidnap his son.
I happened to look at the 1971 GET CARTER this morning, and so this seems to be a movie about the same themes. The difference lies in this movie's comparative softness. Everyone treats the boy well. When these people say "It's only business", they mean it. Other things are more important. So while there are moments of excitement and suspense, this movie winds up being another competent potboiler, with a far too ornate score.
I happened to look at the 1971 GET CARTER this morning, and so this seems to be a movie about the same themes. The difference lies in this movie's comparative softness. Everyone treats the boy well. When these people say "It's only business", they mean it. Other things are more important. So while there are moments of excitement and suspense, this movie winds up being another competent potboiler, with a far too ornate score.
As Monroe starred with Laurence Olivier....
Spudling222 August 2009
Warning: Spoilers
...so did Mansfield star with another noted Shakespearean actor, Anthony Quayle. The difference being that Mansfield was never the star that Monroe was,and Quayle was just a jobbing actor in films, and the production accorded them was a cheapie. Actually, for the first part of this, with Mansfield hiding beneath a brunette wig, she is not bad, but back to blonde for the last half of the film she resorts to her usual simpering.
The picture and sound quality of the CD is so bad, I could not even take my usual pleasure in this sort of film of enjoying the cast of familiar faces. The credits said Percy Herbert was in there somewhere, but I didn't see him.
The picture and sound quality of the CD is so bad, I could not even take my usual pleasure in this sort of film of enjoying the cast of familiar faces. The credits said Percy Herbert was in there somewhere, but I didn't see him.
The only challenge here is to stay awake!
brogmiller29 August 2021
From this lamentable opus three certainties emerge: the ill-fated Jayne Mansfield could neither act nor sing her way out of a paper bag; John Gilling could not direct traffic and the British could not do Film Noir.
'Un point' represents a sympathy vote for the ludicrously wasted Anthony Quayle.
'Un point' represents a sympathy vote for the ludicrously wasted Anthony Quayle.
"Here we all are. Who's going to start the chit-chat?"
hwg1957-102-26570425 August 2018
Warning: Spoilers
A man called Jim takes part in a robbery as a driver and stashes the loot, then is picked up by the police and sent to prison. When he has served his term he is hard pressed by the gang he worked with and the police to reveal the place he hid the money. His son is kidnapped to make him give the secret away.
This is a really good British film noir. Even though Jim is partly responsible for his own plight he is a sad figure who is jostled about by forces beyond his control. Even when his child is kidnapped he is badgered by the school authorities and also by an unsympathetic copper. In the end Jim doesn't get any of the money from the haul though he does get closure on it all.
The cast is excellent in their roles: Anthony Quayle as the increasingly desperate Jim, Carl Möhner as the greedy gangster Kristy, Peter Reynolds who is surprisingly good as the homicidal Buddy, Edward Judd as the bullish policeman, Barbara Mullen as Ma Parker. (Ma Parker gets beaten up in a grim way that's almost shocking.) Playing the femme fatale is Jayne Mansfield as Billy and I liked her performance, first seen lying languorously in bed pulling up her stocking. No wonder Jim was smitten.
The cinematography by Gordon Dines is wonderful and there is lots of fine location shooting in London. It's all enhanced by an atmospheric jazzy music score from Bill McGuffie. In the script there is a large plot hole (Why did the gang make Jim the fall guy and give him up to the law before they knew where he had stashed the money?) but in the end the film is not about that. It's about a trapped man which is one of the hallmarks of a film noir.
The director John Gilling made some fine films, dismissed usually as quota pictures, before he was eventually drawn into Hammer films and TV series to lesser effect in my opinion. Anyway, this is a fine film.
This is a really good British film noir. Even though Jim is partly responsible for his own plight he is a sad figure who is jostled about by forces beyond his control. Even when his child is kidnapped he is badgered by the school authorities and also by an unsympathetic copper. In the end Jim doesn't get any of the money from the haul though he does get closure on it all.
The cast is excellent in their roles: Anthony Quayle as the increasingly desperate Jim, Carl Möhner as the greedy gangster Kristy, Peter Reynolds who is surprisingly good as the homicidal Buddy, Edward Judd as the bullish policeman, Barbara Mullen as Ma Parker. (Ma Parker gets beaten up in a grim way that's almost shocking.) Playing the femme fatale is Jayne Mansfield as Billy and I liked her performance, first seen lying languorously in bed pulling up her stocking. No wonder Jim was smitten.
The cinematography by Gordon Dines is wonderful and there is lots of fine location shooting in London. It's all enhanced by an atmospheric jazzy music score from Bill McGuffie. In the script there is a large plot hole (Why did the gang make Jim the fall guy and give him up to the law before they knew where he had stashed the money?) but in the end the film is not about that. It's about a trapped man which is one of the hallmarks of a film noir.
The director John Gilling made some fine films, dismissed usually as quota pictures, before he was eventually drawn into Hammer films and TV series to lesser effect in my opinion. Anyway, this is a fine film.
DRAMATIC JAYNE MANSFIELD...BRUTAL & LURID BRITISH CRIME THRILLER
LeonLouisRicci12 August 2021
Aka..."The Challenge"
Exceptional Psychological and Physical Violence Permeate this Picture from Britain.
Cutting-Edge Presentation of Child in Peril, Violence to Women, and Abnormal Psychology Wrap Around a Good Jayne Mansfield Performance.
The Film also Offers Thrills Filmed with Dutch Angles and Tight-Tension Scenarios with Nail-Biting Brutality and High-Speed Chases.
Anthony Quayle Gives a Solid, Grim Outing as a Gang-Member who Does Time and is Released only to Find His Gang Turns on Him for the "Buried Treasure".
They Not Only Turn on Him but His 6 Year Old Son and His Aging Mom.
The Film Contains some of the Most Gut-Wrenching Violence Seen on the Screen Before the Code Broke Down.
It's a Fantastic Gang-Land Crime Thriller that is Virtually Unknown and Deserves more Attention and Praise.
Jayne, Quayle, and Director Gillian Made this an Atypical "Times-are-Changing" Introduction, to the Turbulent, Paradigm Shattering Decade.
A Hidden Gem.
Exceptional Psychological and Physical Violence Permeate this Picture from Britain.
Cutting-Edge Presentation of Child in Peril, Violence to Women, and Abnormal Psychology Wrap Around a Good Jayne Mansfield Performance.
The Film also Offers Thrills Filmed with Dutch Angles and Tight-Tension Scenarios with Nail-Biting Brutality and High-Speed Chases.
Anthony Quayle Gives a Solid, Grim Outing as a Gang-Member who Does Time and is Released only to Find His Gang Turns on Him for the "Buried Treasure".
They Not Only Turn on Him but His 6 Year Old Son and His Aging Mom.
The Film Contains some of the Most Gut-Wrenching Violence Seen on the Screen Before the Code Broke Down.
It's a Fantastic Gang-Land Crime Thriller that is Virtually Unknown and Deserves more Attention and Praise.
Jayne, Quayle, and Director Gillian Made this an Atypical "Times-are-Changing" Introduction, to the Turbulent, Paradigm Shattering Decade.
A Hidden Gem.
Fine example of the British crime genre
Leofwine_draca1 September 2016
Warning: Spoilers
Top thrills from writer/director John Gilling come to us courtesy of this black and white British crime thriller, which features a nicely-tuned leading performance from character actor Anthony Quayle, a man who never disappoints with his mannered and focused acting style. Quayle plays a mild-mannered family man who gets involved with an unlikely femme fatale and a gang of robbers and is involved in a violent heist. He escapes with the loot and manages to bury it, but somebody calls the police and he's sent off to jail for eight years.
The story picks up on his release, where he finds the gang are desperate to lay their hands on the loot and will do anything to facilitate that end. The story goes from there. What's immediately apparent is that THE CHALLENGE is a very good film of its type, certainly much better than the earlier efforts directed by Gilling which suffered from tiny budgets. THE CHALLENGE has more money put into it and it shows, with plentiful action and lots of different locations, both indoor and out.
Unfortunately it appears that a number of reviewers have condemned this film as a cheap piece of derivative trash. They appear to have watched the movie as it contains an early role for American starlet Jayne Mansfield, but in their condemnation they don't have anything to compare the film with. You can't contrast this type of movie with the big budget American film noir flicks or even French classics like RIFIFI; of course it's going to look inferior, but trust me, THE CHALLENGE is a strong entry in its genre.
It's fair to say that Mansfield is pretty unconvincing as the femme fatale/gangster's moll in this film, although as ever her figure is quite arresting. The silly wig she wears for part of the running time is quite distracting. Still, the supporting cast are fine: Carl Mohner is frightening as the ruthless thug; Dermot Walsh gets to be on the right side of the law for once; Percy Herbert has a wonderful little turn as a boozy worker; Barbara Mullen is memorable as the stressed-out mother in law; and Edward Judd makes his impact as the two-fisted cop. THE CHALLENGE fills its running time with many suspenseful moments, a taut premise (particularly in the second half), fine action, and great twists. I really liked it.
The story picks up on his release, where he finds the gang are desperate to lay their hands on the loot and will do anything to facilitate that end. The story goes from there. What's immediately apparent is that THE CHALLENGE is a very good film of its type, certainly much better than the earlier efforts directed by Gilling which suffered from tiny budgets. THE CHALLENGE has more money put into it and it shows, with plentiful action and lots of different locations, both indoor and out.
Unfortunately it appears that a number of reviewers have condemned this film as a cheap piece of derivative trash. They appear to have watched the movie as it contains an early role for American starlet Jayne Mansfield, but in their condemnation they don't have anything to compare the film with. You can't contrast this type of movie with the big budget American film noir flicks or even French classics like RIFIFI; of course it's going to look inferior, but trust me, THE CHALLENGE is a strong entry in its genre.
It's fair to say that Mansfield is pretty unconvincing as the femme fatale/gangster's moll in this film, although as ever her figure is quite arresting. The silly wig she wears for part of the running time is quite distracting. Still, the supporting cast are fine: Carl Mohner is frightening as the ruthless thug; Dermot Walsh gets to be on the right side of the law for once; Percy Herbert has a wonderful little turn as a boozy worker; Barbara Mullen is memorable as the stressed-out mother in law; and Edward Judd makes his impact as the two-fisted cop. THE CHALLENGE fills its running time with many suspenseful moments, a taut premise (particularly in the second half), fine action, and great twists. I really liked it.
For railway geeks.excellent talking about is something peripheral
keith-hewle2 September 2023
I watched this film whilst being engaged in another task. That may indicate my
appreciation of it. No matter.
Toward the end of the film the train caught my attention. As they invariably do. The carriages bore the logo ' LMR '. Which puzzled me.
It could mean the London Midland region during the time of British railways.
But to my knowledge they never permanently assigned stock to one particular region or other.
On examining the locomotive all became clear to me.
The filmmakers used the Longmoor Military Railway for the railway scenes.
There they would be able to start and stop the train at will as they required. Which they could not possibly have done on the British Railway system for considerations of rail safety.
I believe the locomotive to be ROD 2-10-0 ' Gordon '. Which is now in the possession of the Severn Valley Railway in Worcestershire.
Had I been permitted to enjoy a railway career. I would have been the sixth generation of a railway man. In my extended family.
Instead I had to settle for a long career in the army.
Toward the end of the film the train caught my attention. As they invariably do. The carriages bore the logo ' LMR '. Which puzzled me.
It could mean the London Midland region during the time of British railways.
But to my knowledge they never permanently assigned stock to one particular region or other.
On examining the locomotive all became clear to me.
The filmmakers used the Longmoor Military Railway for the railway scenes.
There they would be able to start and stop the train at will as they required. Which they could not possibly have done on the British Railway system for considerations of rail safety.
I believe the locomotive to be ROD 2-10-0 ' Gordon '. Which is now in the possession of the Severn Valley Railway in Worcestershire.
Had I been permitted to enjoy a railway career. I would have been the sixth generation of a railway man. In my extended family.
Instead I had to settle for a long career in the army.
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