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The Good Die Young (1954) 4.14/5 (2)
4.14/52

 

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Rating: The Good – 82.8
Genre: Film-Noir
Duration: 100 mins
Director: Lewis Gilbert
Stars: Laurence Harvey, Gloria Grahame, Richard Basehart

Lesser seen Brit noir starring a host of big names from both sides of the Atlantic and embodying all the mood and tension of the genre. Laurence Harvey is the gentleman of leisure who, after being cut off by his older wealthier wife, begins manipulating three desperate figures who he finds commiserating down the local pub into committing a dangerous post-office robbery. John Ireland is an American air force officer who has grown weary of chasing his unfaithful wife (a British-sounding [well, sort off] Gloria Grahame), Richard Basehart is a former US soldier stranded in England with his pregnant wife (a young Joan Collins) who herself is being tormented by her overbearing mother, and Stanley Baker is the ex-boxer prevented from earning a living after his no-good brother-in-law made off with his savings. With so many subplots and characters, director Lewis Gilbert, who was more famous for his later Bond movies, could’ve made a mess of this one but, armed with his and Vernon Harris’ sharp screenplay and a healthy appreciation for the aesthetic of the genre, he crafts a pitch perfect thriller and towards which, each of the subplots contribute equally. Of course, the cast are critical too and they are to a man/woman bang on form. Even Basehart and Ireland who could often be a little dull encourage much in the way of the audience’s sympathy while Baker provides a stoic force to combat Harvey’s sardonic deceiver. Grahame is a little wasted and her accent is off-putting enough question the wisdom of making her character British at all. It’s not like the film is lacking in that regard as it’s defined by London’s post-war murkiness, so much so, that it stands behind only the likes of Jules Dassin’s Night and the City in terms of quality and effectiveness. And like that little masterpiece, this one also ties up in a neat little package so that the intersection of the multiple subplots coheres poignantly with the spirit of the genre.

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