Green for Danger (1947)

As Good As It Gets

Pretty good movie overall. First half was nothing special but it got better as it went along.

There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Love murder mysteries, have always been fascinated by them since reading my first Agatha Christie novel ('And Then There Were None') aged twelve, and with such a great cast on paper 'Green for Danger' had the potential to be a real treat.Potential that is more than lived up to, if falling slightly short of being surpassed. Not quite a masterpiece of murder and mystery, but for a comedy-mystery thriller it's very near to it and makes one sad that one doesn't see films like this now on the most part. It is a little on the slow side to begin with, picking up the pace from the revelation at the dance that leads to a second murder and especially when Alastair Sim appears midway. The motive for the first murder (the one for the second is easier to follow) comes from nowhere and is rather confusing for anybody, like me, who didn't remember anything like that being mentioned previously, also found it explained in too hasty a way.However, 'Green for Danger' has an attention-grabbing opening line and the opening narration is the perfect way to draw the viewer in and set things up. It also ends with a very clever and amusing final line, and apart from the underwhelming motive the final twist is one of the most unexpected and most genius personally experienced in any film, was not expecting the murderer's real identity or the outcome.There are some great scenes in between. Especially good was the suspenseful build up to the second murder, the suitably eerie photography and lighting helped, and the nail-biting tension created in the second murder itself, Inspector Cockrill's introduction and a tense rescue.While 'Green for Danger' was very engaging for much of its length, much of the film flew by and made the most of the short running time, it particularly comes to life when Alastair Sim arrives on the scene and things get even better. It has been said that Sim steals the film and couldn't agree more. This is quintessential Sim and he is magnificent with his wry, witty line delivery, expressive eyes that tell so much, great energy and deliberately and deliciously contradictory body language (rarely does tremendous energy equal laziness and be so funny).Rest of the cast also fare well. Trevor Howard plays it straight effectively and he plays an uneasy character with naturalness. Sally Gray is beguiling and charming and Judy Campbell, Rosamund John and Megs Jenkins also make a strong impression. Particularly impressive is Leo Genn, his ambiguity, bringing out very subtle shades of the heroic and the villainous, was perfect for a character that one is never sure whether to trust or not and it really deepened the mystery.'Green for Danger's' mystery is a thoroughly engaging one, with a delicious dark wit and nail-biting tension in some scenes. It's complicated, with a lot of information being given mainly through dialogue, but rarely overly-so. The script has some wonderfully funny lines with Sim and is very thought-provoking elsewhere.It's a great-looking film too, the photography and lighting are very stylish and rich in atmosphere. Standing out in particular is the build up to the second murder and the murder itself, which was terrifying even when one knows that it's going to happen. Sydney Gilliat directs beautifully, while William Alwyn's score is hauntingly ominous and jaunty.Overall, a great film and a near-classic that is primarily to be seen for Sim. 9/10 Bethany Cox

This Individual film production, is about as individual as UK made films from this era ('46') can get. The story by Christinna Brand, the screenplay adaptation by Sidney Gilliat and Claud Gurney, the photographic direction by Wilkie Cooper (Jason and the Argonauts '61) assisted by cameraman Oswald Morriss (later to become respected D.O.P. and Director in his own right), along with fabulous lighting and sets, combine to make this one a stand out.The all too little seen and known Sally Grey (Silent Dust '48 ~ Obsession '49) here again proves why she was so highly regarded. Add the always reliable Trevor Howard, Leo Genn, Alastair Sim and a full support cast of sterling players and you can't lose. Respected producer Frank Lauder then tops all this talent off with crackerjack director Sidney Gilliat (State Secret '50 - Gilliat for my money was superior to Hitchcock and had previously contributed to several Hitchcock films). Today's TV programmers have a limited knowledge of these early gems so they are little seen.If you have a passion for quality British movies from the past then this could be for you.....if not yet seen, don't miss out any longer. The Beyond DVD release from a few years back is OK, but I understand there maybe a better quality 'studio' release available these days. KenR...............

Its World War II and those Nazi night raids are driving the British country folk balmy. When a postman is injured and rushed into surgery, he looks suspiciously at one of the doctors and one of the nurses taking on his case whom he recognizes. The next thing you know, he's gone onto that great post office in the sky and the entire staff is under suspicion for deliberately causing his death. One of the nurses (Judy Campbell) is extremely jealous of colleague Rosamund John and doctor Leo Genn (whom she discovers kissing), and at a hospital function, she denounces the postman's killer without mentioning a name, only hinting about hidden evidence that will unleash their identity. She too ends up dead, leading to a showdown with the five suspects and Inspector Cockrill (Alastair Sim), a know-it-all detective who is in for a few surprises of his own. The Inspector is the film's narrator and reveals enough clues to get the intrigue started.Tension builds at the party during a dance to "Here We Go Round the Mulberry Bush" which later becomes as dramatic a theme music as Alfred Hitchcock used with "The Merry Widow Waltz" in "Shadow of a Doubt" and "The Strawberry Blonde" in "Strangers on a Train". The film can be rather slow in spots, but as the surprises explode, the film just gets more and more amusing. It is astonishing to note that the film seems technically advanced beyond its release year as some British films tended to seem compared to the studio controlled product in Hollywood. Director Sidney Gilliat doesn't give us a slower paced narrative for no reason; Every detail is explored. The film's photography is outstanding. Other than Trevor Howard, Alastair Sim and Leo Genn, the cast may not be familiar to a lot of American viewers, but everybody is fine and each of them have great moments to shine. Stick with the film and you'll be greatly amused by the twists and turns in the plot that you don't see coming. Sim, best known to American audiences for perhaps the most popular version of "A Christmas Carol", plays a role I thought might be a continuing character in other films, but I was mistaken. He seemed very comfortable in the part for this to have been a regular role for him. He has a great final surprise and his response to it is ingenious.

This movie has everything going for it: good cast, good cinematography, good story, but Alastair Sim (who plays the inspector) is a wildly overrated actor and really ruins this movie. The odd way in which he portrays the inspector breaks the mood of the film and is a major distraction. Perhaps not surprising: Alastair Sim was an odd character in life too (see Wikipedia), so perhaps to be expected, but it's a shame: Trevor Howard and the rest of the cast do a great job. This could have been a mystery treat with a better actor cast in Sim's role.See it if you're a fan of Brit mysteries, otherwise, don't waste your time.