George Brent, that leading man of practically every leading lady who became a star between 1930 and 1945, takes on a swinging 1950's here, as an American who becomes a bookstore manager in post-war London. He finds himself victim of a blackmail scheme and later a murder suspect. His inventory clerk (Diana Dors), tied up with a recently released from prison conman, tries to use a spontaneous kiss as a threat, causing tragedy and an odd murder plot which shows how Scotland Yard utilizes every clue they get their hands on in order to solve the case. Brent seems too tired as the ultra-serious manager who must discipline Dors for her constant lateness to fall under the spell of her obvious scheming. The ridiculous film noir set up is saved by the second half that ties everything together in a unique and thrilling manner, utilizing some fun characterizations of the bookstore staff to reveal important clues.
I had a difficult time buying the idea that Brent wouldn't even see past Dors' childish extortion or even get close to her in the first place. His reaction to his own personal tragedy is emotionless and destroys whatever credibility his character had prior to that. The poor writing of this half moves to the opposite side of the spectrum for the finale which utilizes a bombed-out church for Brent's hiding place and a creepy confrontation between Brent's love starved former Army nurse (now his personal assistant) and the villain.
I had a difficult time buying the idea that Brent wouldn't even see past Dors' childish extortion or even get close to her in the first place. His reaction to his own personal tragedy is emotionless and destroys whatever credibility his character had prior to that. The poor writing of this half moves to the opposite side of the spectrum for the finale which utilizes a bombed-out church for Brent's hiding place and a creepy confrontation between Brent's love starved former Army nurse (now his personal assistant) and the villain.