HOME TO DANGER
UK, 1951, 66 minutes, Black-and-white.
Guy Rolfe, Rona Anderson, Francis Lister, Alan Wheatley, Peter Jones, Stanley Baker.
Directed by Terence Fisher.
While there is nothing particularly new in the screenplay, this is a very competently made supporting thriller, a step in the career of the director, Terence Fisher, who made a number of thrillers but ventured on a new career in the mid-1950s at Hammer Studios with many thrillers, especially on Dracula and Frankenstein.
Rona Anderson is the attractive heroine returning home after alienation from her father, inheriting his property after his alleged suicide, his suggestion that an orphans’ organisation use the spare wing of their mansion. Guy Rolfe is the rather suave hero (his next film was Ivanhoe, appearing as Prince John). Alan Wheatley is the meek and then vengeful villain. Stanley Baker appears in a significant supporting role. This was the last film of Francis Lister.
Mysterious aspects, the hunt (which many viewers may disapprove of), an attempted murder, the shooting, a visit to London to visit the safe of the dead father.
Plenty of mysterious ingredients.
1. Brief supporting feature, thriller, London settings? The work and career of the director?
2. The title, Barbara in the Middle East, the clash with her father, the airport sequence and arrival, Howard welcoming her, the suspicious observer and his signal to Howard?
3. The reading of the will, the servants and the bequests, Robert and the souvenirs, Barbara and the jewellery, Howard and the company – and the codicil and its transferring company to Barbara? The wing of the house for the orphans?
4. Barbara and her visit, Mr Hughes, the arrangement for the orphans? Mr Hughes and his later visit to the house, the tour, the renovations, accommodation for the builders, the barn? The encounter with Willie, his hurrying away?
5. Robert, long friendship with Barbara, welcoming her, the bequest, the hunt, the situation and the police, going with Barbara to the office, his safe-cracking friend? The return? The police investigation? The dictaphone and the information about the drugs? The safe-cracker his going to the club, the invitation to the dealer – and the dealer killed?
6. Willie, his place in the house, simple, loyal to Barbara, the information about the safe and her father’s last words, his suspicions of the man on the bridge, shooting him? His defence of Barbara, seeing Hughes attempting to kill her, the confrontation and his death?
7. The hunt, the anonymous boss and the orders to kill, Howard to lead Barbara to the swamp? The death of the assassin? His gun, hat, the body? Barbara and her suspicions? Willie telling her that the man had talked with Howard?
8. The revelation that Hughes was the arch-criminal? His orders? The use of the organisation for the orphans? His visit to the house, attempts to kill Barbara, in the house, shooting Howard, the fight with Willie? Out into the grounds, pursued by Robert? His sinking in the swamp?
9. Complex ingredients for a short film? The skills of the director and the cinematographer, atmosphere, light and dark, shadows, angles?
