Directed by Gordon Barry
Starring Diana Dors, George Baker & Terence Morgan
Diana Dors, often described as Britain's answer to Marilyn Monroe, steals the show in this overlooked film noir.
"I come from the slums, from the gutter, where it's a step up even to the pavement. I never had a home. I never had a father my mother could put a name to. I never had a thing, 'til one day I found I was attractive to the opposite sex. I discovered my legs weren't just made to stand on. I have one talent, most people haven't got any, so I used that talent and I got tough." -- Calico
The film begins in London, where suave man-about-town Johnny Mansell (George Baker) is set for a night of action with a foxy brunette called Linda. He's dimmed the lights, he's got some Jim Dale on the record player, he's even emptied the ashtray and fluffed up the cushions on the sofa. "Well, take your things off," he says... "your coat, I mean". The old charmer.
Unfortunately for Johnny, his night is ruined before it even begins when he receives an unexpected phonecall. It's his bookie, who wants the money Johnny owes him. Now. Or else. So Johnny does what any upstanding member of society would do. He hops on the nearest train and scarpers back to his old home town of Rawsborough.
Things clearly haven't changed much since Johnny last visited. He sees the same old faces in the local boozer, the same bunch of kids playing 50-aside football in the street, the same clouds of toxic smoke billowing from the enormous steel mill that towers over the town. It's grim up north.
One thing has changed, though. When Johnny looks in on his younger brother, Dave (Terence Morgan), he meets Dave's new gal, a blonde bombshell who goes by the nickname of Calico (Diana Dors). No explanation is given for the nickname, although presumably she's named after the cat rather than the fabric. Calico is a hostess at the local nightclub, and her hobbies include doing aerobics whilst wearing a tiny pair of shorts and standing on her balcony in some lingerie.
Calico seems a bit out of Dave's league. She's a glamorous sexpot and Dave is a meek accountant who does the books at the mill. How did a guy like him ever get a girl like her? Well, as it turns out, Dave's being skimming money from the mill and been using it to keep Calico in expensive jewellery and fancy dresses. Naughty Dave. Only trouble is, the mill is getting a visit from the auditors, and once they find the hole in the accounts, all fingers will point towards Dave.
Now we have two Mansell brothers with money troubles. Johnny with his gambling debts, Dave with his little audit problem, and Calico stuck in the middle... pouting. Obviously, it's Calico who comes up with the solution. Break into the mill at night, steal the payroll from the safe, then the auditors won't be able to spot the hole in the accounts and Johnny can pay back his debts at the same time! What could possibly go wrong!
Needless to say, the robbery doesn't go quite to plan and the rest of the film deals with the fallout as both brothers try to cope with the consequences of their actions. It's familiar territory for aficionados of noir; weak men making bad decisions and digging themselves deeper and deeper into a hole with each wrong move, and a manipulative femme fatale using her sexual allure to get what she wants.
I won't give away any more of the plot, but what I particularly liked about this film is all three of the main characters are well-written and feel very much like real people. You get the feeling that Dave is essentially an honest guy who made some stupid decisions to impress a girl. Johnny is introduced as a gambler and womaniser, but it's his character who provides the moral compass for most of the film. He just wants to look out for younger brother.
Calico is the hardest to read. She's ruthless, she's conniving, but it's clear that she only gets what she wants by putting up a front. It's telling that throughout the entire film we don't even learn her real name. But even she begins to crack towards the end, allowing the viewer a tantalising glimpse of the real girl behind the façade.
As well as the strong characterisation, what stands out in this film is the gritty industrial setting. Rawsborough is a fictional town, but it could be any number of towns in 1950s Northern England. Heavy industry dominates the landscape, with the giant steel mill looming oppressively in the background of every outdoor shot. Smoke billows through the streets, painting the walls black, and there are a couple of extraordinary shots of inside the works, with giant vats of molten steel being poured, pressed and moulded. Throw in a couple of Orcs and you could easily be in Mordor.
It's this landscape of smoke and fog that sets the tone for the film's dubious morality. Like any good noir, there is no clear line between right and wrong. Characters do the wrong things, but in their mind they're doing them for the right reason. Judgements are clouded and decisions are polluted by external forces. Whether it be poisonous smoke pumped from a factory chimney, or a beautiful blonde whispering loaded words into your ear, what's the difference?
Although I really enjoyed this film, I'm going to say it's not perfect. Some of the acting, particularly from the supporting characters, is a little stiff. Lines are delivered deliberately and with purpose, lacking the naturalism I prefer in most films. It all feels a bit staged. Ironically, it's probably Dors herself who gives the best performance. Like Marilyn Monroe, most of the focus usually goes on her looks and her screen presence while her acting talents go unnoticed, but here she does a stand-out job.
Another minor issue I have is with the plot. It zips along at a fast pace and has a number of twists and unexpected surprises, but wraps up a little too neatly at the end and probably doesn't stand up to much scrutiny. It's a fun ride, but probably best not to over-think it. Small flaws aside, it's the low-budget feel and the down-to-earth working class aesthetics that give the film a rough charm. Recommended to fans of film noir.