LastingAware The greatest movie ever!

Phonearl Good start, but then it gets ruined

Stellead Don't listen to the Hype. It's awful

Nessieldwi Very interesting film. Was caught on the premise when seeing the trailer but unsure as to what the outcome would be for the showing. As it turns out, it was a very good film.

moriczmusic This is a film that has a lot going for it: --a typically excellent, nuanced and three-dimensional performance from Trevor Howard as a forced-into retirement espionage agent encountering a surprising new adventure back home while at times revisiting aspects of his own past.--Jean Simmons in her radiant younger days in a role of mystery, range and substance.--a highly intelligent script that expects viewers to think and rewards their patience.--stylishly and confidently directed, and photographed with great distinction by the later-legendary Geoffrey Unsworth.--excellent use of locations, well-paced, filled with surprises.Those who are comparing it to British Hitchcock are partially right, but it also has the erudite touch of a Sir Carol Reed about it. It's visually quite satisfying, naturalistically shot for the most part, but with well-thought-out process shots when necessary. This story eventually covers a lot of ground, and each new location and situation is shot with a real eye for the distinctive look or texture of where they are next. While the visual choices are rarely "flashy," there is a real sense of location and imagery. Outdoors and nature compete with urban or more claustrophobic settings, and all the myriad parts add up to a polished and satisfying whole. It starts a little slowly, but once the wheels begin to turn, it gradually takes you on quite a journey, narratively, emotionally and geographically. I found myself very invested in the main characters.Another plus is the excellent score by Benjamin Frankel -- it hits its full marks not only in the dramatic or suspenseful passages, but also in some unusual and subtle piano music played by Simmons' character.No complaints about this movie! It's a gem.

rashomon-8 This film plays really well with an audience. Especially once the chase begins. Plus, Trevor Howard with his sensible, smart charms and Jean Simmons with her innocent demeanor and piercing eyes are terrific together.The film starts as a psychological drama but after the murder it segues into a chase thriller as the two leads head for the border. Some may think the chase is superfluous but actually the chase is essential because it aids in clearing the mind of the Jean Simmons character by getting her out of the oppressive household, plus it helps bring out the real killer - who is suddenly put into such a position that they have to finish the job. The killer rightly believed that once the Simmons character was arrested she would be put away. And it is true that her lack of control in the household - as well as evidence pointing her way - there is no way she would have gotten out of the murder charge. The chase that ensues helps bring out the truth.This is an entertaining film. Seek it out if you can find it.

derekcreedon CLOUDED YELLOW is a favourite from my schooldays because of its basic ingredients - a haunting mystery, a fascinating chase across England from a deceptively-drowsy Hampshire to the bustle of Liverpool docks, a rousing climax and the only on-screen teaming of two great British stars. Hitchcock was the obvious model, a factor utilised in the marketing of the recent DVD and the director Ralph Thomas actually remade THE 39 STEPS - very flatly - at the end of the decade. Thomas was a prolific journeyman of variable competence, turning out thrillers, war films, adventure stories, historical dramas and comedies (most notably DOCTOR IN THE HOUSE) but lacked the personality to conjure a classic.David Somers (Trevor Howard) is an M.I.6 agent - a sort of low-key James Bond without the glamour - who's put on the back-burner after botching an operation. He opts for a job cataloguing butterflies (hence the title) at a rural retreat where he involves himself in the troubles of Sophie (Jean Simmons) the young ward of the house who's suspected of murder when the local bad-lad (Maxwell Reed), with whom she'd been quarrelling, is found with a knife in his back. Somers takes it upon himself to extricate this trapped butterfly from police hostility (very Hitch) and smuggle her out of the country with the help of his contacts. Despite the presence of Kenneth More on the sidelines (waiting for the big break so soon to come) there's no (conscious) humour in the film at all and no Hitch-tension between the leads. Though motivated by a romantic attachment as well as the urge to atone for past mistakes Somers seems more a father-figure than a potential lover. No teasy-weasy handcuffs and wet stockings here, it's all very stiff upper-lip and he never questions her innocence though the girl remains an enigma until near the end. As a child she'd witnessed the violent death of her parents but has blocked out the memory (very SPELLBOUND). When she starts to get it back the real perpetrator of crimes past and present turns up in Liverpool to silence her. What follows is like watching MIDSOMER MURDERS turn into THE PERILS OF PAULINE complete with cliff-hanger. Wildly over-the-top and completely illogical it's great hare-brained fun and very gripping. Whether this startling gear-change was originally planned or came about during production is unclear. The film certainly terminates very abruptly with the pair in long-shot walking away together over the rooftops, arms around each other, though the gentleman at this moment looks about a foot taller than Mr. Howard. Hitchcockery is catching. In the changed ending to SUSPICION we're given a back-of-heads shot of Grant and Fontaine where the heads quite obviously aren't theirs.Ralph Thomas does bring off one nifty Hitch trick quite well. Somers appears to capitulate to pursuing cops and sends them into a restaurant to pick the girl up. When they reach her table she's no longer there and a brassy blonde greets them instead while Somers too has cleared off. Nice one. Hitch would smile.

videon This is an average thriller with good performances all-round. Trevor Howard is excellent as an ex-spy, David Somers, taking a break to work on cataloguing butterflies in the Fentons' country house. There he meets their highly-strung niece, Sophie. The film plot in some ways resembles the plot of 'Gaslight' when we see her strict aunt Jess is intent on convincing Sophie that she is losing her memory.When the police suspect Sophie of murder, she goes on the run with Somers. This gives us an excuse to take a trip around early 1950's Britain. Somers makes full use of the contacts he made during his previous spying experience.After a short stay in Newcastle the couple travel on to the Lake District and we have an opportunity to indulge in the scenic beauty of Ullswater, Patterdale as well as the waterfall at Sourmilk Gill.In contrast to the countryside scenes, the denouement takes place in Liverpool. There is a small final twist, but anyone watching carefully will notice that this twist had been hinted at some time beforehand. Nevertheless the film is enjoyable and doesn't put too many demands upon the viewer. 6/10.