Finger of Guilt (1956)

Overrated and overhyped

hyped garbage

Best movie of this year hands down!

While it doesn't offer any answers, it both thrills and makes you think.

Erotomania is the psychological term used to describe someone who is delusional and has convinced themselves that another person loves them...a person who they possibly never even met. It often happens with crazed fans in love with a famous person but the fixation could occur on a normal, everyday person as well. Erotomaniacs are not obviously insane, but this delusion is difficult, and sometimes impossible, to rid the person of despite therapy. I mention this because through much of "Finger of Guilt" you aren't sure whether this has occurred to Reggie Wilson (Richard Basehart) or whether he's a total cad and simply is lying to hide an affair.When the film begins, Reggie has moved to the UK following some sort of scandal he was involved in with some married woman. Now he's married to the boss of a British studio and has a very important job producing movies. However, he begins receiving letters from a lady in Newcastle asking him why he is ignoring her and demanding he contact her. But he insists he has no idea who the woman is and even tells his father-in-law about this situation. And then, the women begins calling the studio...demanding to talk with him. By this point, Reggie's wife has heard about all this and it's obvious that she's beginning to suspect her hubby is a lying troll. So, Reg takes the wife up to Newcastle to confront the lady...and the lady INSISTS she and Reggie have been lovers, though she can provide no concrete proof. Who are you to believe? So is this any good? And is it really a case of erotomania? See the film and learn for yourself.The fact that Richard Basehart is in a British film isn't too surprising. Basehart was a very minor star in the States and made movies in Europe (including a film for Fellini) for several years. This is because European studios thought that by putting an American or two in the leads, it would increase the marketability of the films internationally.All in all, a pretty good film. I didn't love the ending...and part of it is because it wasn't 100% convincing. Still, an interesting and unusual story.By the way, this film does make you wonder how many people and marriages have been destroyed by erotomaniacs. While this is relatively common with celebrities and accepted as a normal part of fame, what about common folk who suddenly have women or men insisting they love them? For an amazingly good film about this, try to see the French film "He Loves Me, He Loves Me Not"....it's among the very best French movies of the last several decades!

I don't know why, but somehow Richard Basehart always reminded me just a little of Richard Burton...although I liked Basehart a bit more. Unfortunately, Basehart never made it to the A list, even though I thought he was a good and fairly interesting actor. Maybe the problem was scripts that left a bit to be desired...like this one.Here, his character as a film director seems...well, a tad bit stereotypical, at least on the surface. Really, constantly carrying around a cane for no reason just seems a little goofy.But, once you get back the superficial aspects of this film, it gets pretty good. What has to happen to get to that point is getting past the mysterious letters that seem to be hinting at blackmail, to actually meeting the mysterious girl...which finally does happen. Then things get quite good, quite interesting as the mystery deepens.If you look carefully, you'll see this film was on a pretty cheap budget (for example, painted books on a bookshelf). The other problem I have with this film is that it has that sort of tawdry look to it that was not uncommon in lower budget 1950s film...that lacked the class of film noir.The ending is pretty good, although hardly unique.Let's put it this way -- you could do worse. It's worth a watch, but I doubt you'll buy it for your DVD shelf.

"Finger of Guilt" was directed by Joseph Losey and written by Howard Koch, under a pseudonym' both he and Losey were called to testify during the Red Scare and refused. Both men were certainly capable of interesting work; somehow this film comes off as not that special. The problem may be that it was originally 95 minutes and the version shown is 84.That can make a huge difference.Richard Basehart is a film executive who left Hollywood after a scandal. Now he is in England, married to the boss' daughter (Lesley Wilson) with an excellent job at a studio, run by his father-in-law (Roger Livesey).Reggie (Richard Basehart) has been receiving letters from someone he first believes is a fan, but the letters have become more aggressive, stating that they had an affair, and that she wants to continue it. Reggie is positive he doesn't know the woman, let alone had an affair with her.He shows them to his boss Ben (Livesey). Then his wife receives a letter from this person, and Reggie decides to find her and confront her. His wife insists on accompanying him. The posts come from Newcastle, and they find the address, a rooming house.The woman (Mary Murphy) turns out to be an actress and she knows way too much. She knows what he drinks and how he drinks it, where he's traveled -- Reggie begins to think he has a double personality. Meanwhile everyone seems to believe her, including his wife.I wouldn't call this a film noir; it is an interesting movie that keeps you guessing but I for one was disappointed in the denouement.Constance Cummings plays an actress, an old lover of Reggie's, who is supposed to star in his film, which is in jeopardy. She is excellent, as is Basehart.I won't say this is a bad film at all, it just doesn't have Losey's artistic touches. Having seen films he made with Dirk Bogarde, this just seemed like an ordinary film for him. But again, I haven't seen the uncut version.Worth checking out.

OK, perhaps I rated this a little too high, but anything featuring the very good Richard Basehart is fine in my book. Having seen this a while ago, I recently watched the beginning and the ending once again.The beginning draws you in to a story which, while not especially original, does provide enough mystery and twists and turns to be involving. The actors are all highly professional, and the directing is serviceable. Earlier reviews have suggested that Losey (director) had the usual axe to grind as a blacklisted Hollywood veteran. Well, perhaps, but if that was the case, he didn't succeed.Instead what we have is a psychological drama (a la film noir) in which our protagonist is assailed by an unkind fate (personified by an unexpectedly satisfying Mary Murphy). Things go badly as the film moves toward the predictable climax, when all is revealed. Here, Losey pulls out all of his particular directorial stops and gives us a good cinematic treat as Basehart tangles with the real (albeit somewhat wimpy) villain of the piece in a shadow play bravura conflict. Decent film, well worth your time. 4 out of 5.