Nowhere to Go (1958)

A lot of fun.

Good films always raise compelling questions, whether the format is fiction or documentary fact.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

I almost skipped this film -- it was a late night offering on TCM -- but I'm so glad I taped it. Like most film noir, the story never seems to go in the direction you expect; its charm lies in this unpredictability. Unlike most film noir, however, Nowhere To Go seems both authentic and believable. In the end, Paul Gregory's self-assured cockiness is undone by surprise, deceit and suspicion. My initial interest was to watch Maggie Smith's first credited screen role but was completely drawn in by all of the principal characters. Those more accustomed to seeing Smith in her more sophisticated roles from the 1970s onwards, will be pleasantly surprised by her ability to comfortably inhabit the role of a working class girl.I had never seen George Nader in anything before. Too bad he never achieved the degree of greatness his talent and good looks seemed to promise. Although American born, I think he would have played a convincing James Bond. Both Bessie Love and Bernard Lee provide strong supporting roles.

Well I have to say I very much enjoyed this Ealing made British thriller, although I guess it was all a bit predictable as it has been described in the title.The story revolves around a Canadian conman played by George Nader who reminds me for football fans as a Luis Figo lookalike. Good performances by Maggie Smith, making her film debut I think and Bernard Lee although I never thought of him as a violent type. A small part from the usual wooden Harry H Corbett too.It kept my attention all the way through which is a fair achievement although as I mentioned previously it is a little predictable and has a few far fetched moments. Nevertheless a great watch.One observation I made was how much our road system has improved since this film was made. When our main characters leave for Wales at the end Maggie tells George it will be an 8 hour journey, I can do in just over 2 if I put my foot down.

For George Nader and Ealing Studios this was virtually the end.Nader's career went downhill pretty fast and this was the penultimate production of Ealing studios.Whilst the film has merit it is sorely hampered by the casting of a bland American lead.Compare this film with the "The Criminal" where you believe that Stanley Baker is on the run from his fellow gang members.Also there are too many coincidences and contrivances.After all would Bernard lee have gone back to his flat knowing that Nader was probably out for revenge and the key.Also when Nader makes his escape from the police he finds a window to open and there hey presto is a car just waiting to be started.Then there is the lorry just standing around waiting to be started at the end.An entertaining thriller but no classic.

If this film had been made in 1950s France by directors named Clouzot or Melville, this Ealing production would be a regular on the revival circuit and in film school classrooms. Sadly, it's a completely unheralded film. Directed expertly by Seth Holt, who co-wrote the film with critic Kenneth Tynan, the film features an on-his-way-to-Europe George Nader as an American con man in London, looking to score by stealing a valuable coin collection (the owner is played by American expatriate and silent film star Bessie Love). His companion in crime is the docile but dangerous Bernard Lee, and there are double crosses and dirty dealings aplenty. The star of the film is Paul Beeson's amazing cinematography, always artistic but never too showy. Beeson also did sterling work for Ealing's The Shiralee (1957), and it's hard to understand how his career ended up on Harry Alan Towers scrap-heap. Dizzy Reece's outstanding jazz score (his only film work) fits the story like a glove and Maggie Smith makes her film debut as Nader's love interest. This is a great film and a true work of art.