User reviews

THE FRIGHTENED MAN is another low budget British crime film written and directed by the ever-present John Gilling. Once again Gilling was working for the Berman and Baker team at Tempean Films and and once again he has managed to craft a well-told and engaging tale from very little resources.

The film features the ubiquitous Dermot Walsh (complete with his trademark white hair streak) as an anti-hero who's something of a scoundrel; he begins the film by quitting his studies at Oxford and returning to his father, begging charity. His father wants him to come and work at his antiques shop but Walsh is more interested in romancing the lodger and getting involved with some ne'er-do-well characters.

Eventually the main thrust of the film becomes your typical heist thriller, with plenty of tension utilised to keep the viewer occupied right until the fitting climax. Walsh does well as a truly detestable character but THE FRIGHTENED MAN is of particular note thanks to the efforts of the supporting cast. Charles Victor is excellent as the doting father who'll do anything to see his son succeed while Barbara Murray is never irritating as the woman drawn into his wiles. Michael Ward, Thora Hird, John Horsley, Ballard Berkeley, and Martin Benson all put in solid turns too. There's little to dislike about this well-plotted film.

Dermot Walsh has just been sent down from Oxford. His father, Charles Victor, is disappointed, but puts a good face on it. Walsh can join him in his business! His son doesn't like it. The shop looks like a junk shop to him, with the very occasional valuable antique -- there's a pair of Ming vases he just got, which his assistant, Michael Ward, tells him is on the police list as stolen. There must be some mistake, says Victor.

The shop doesn't even cover all expenses. Victor has a couple of paying guests at his house. Walsh likes one very much: Barbara Murray. In fact, they disappear and he marries her, but he can't get a job, so Victor comes through with a check for fifty pounds and a secretarial job in Hatton Gardens. Actually, Walsh has been working for a local hood, and he comes up with a plan to steal a shipment of diamonds from Hatton Gardens.

It's a very twisty story from writer-director John Gilling, and the actors are up to their jobs. It's the sort of nasty crime story that pleases people: there have been lots of stories about robbing the jewelry district in London over the years, from smash-and-grab up to the one in 2015, when pensioners carted out most of one safety deposit vault over a holiday weekend -- that actually happened. I'm waiting to see a movie about that, but until I do, this dark little tale will do.

I saw this on the television last night. It is a good 1950's B-movie thriller. Whilst the plot is a bit hackneyed in places, it is well acted and well directed. If you like this sort of film it is well worth a viewing. If you are not a fan of this sort of film, but want to kill 69 minutes, it should do the job.

John Gilling directed and provided the script for THE FRIGHTENED MAN - and I readily admit that he did well on both counts. The copy that I watched could never rate good, let alone pristine, with some truncated bits where dialogue was lost. That said, it was clear enough to deserve praise for cinematography by Monty Berman.

Those lost words notwithstanding, dialogue struck me as both convincing and involving, assisted by two very fine actor performances from Dermot Walsh as the worthless, cheating, mendacious Julius, the son of Rosselli (superbly portrayed by Charles Victor as the caring father with a past about to catch up with him). Martin Benson plays very effectively the shifty villain Alec Stone.

I found the film arresting from beginning to end without needing any extraordinary amount of action. The characters came across as believable and well rounded. With a length of 69 minutes, it is short enough that it is a pleasure to view and review. 7/10.

This rather cheap and cheerful effort actually has quite a decent, complex, plot and Dermot Walsh ("Julius") and on-screen father Charles Victor ("Rosselli") work well together to create just a little more suspense than usual in this British crime drama. The latter runs an antique shop and, occasionally, fences some stolen goods to help fund his son through Oxford University. The pretty ungrateful son manages to get himself sent down, returns home and basically cleans the old man out - whilst, simultaneously - falling for the lodger "Amanda" (Barbara Murray) with whom he runs off only to fall in with some more substantial crooks who are planning a daring diamond heist. When it all starts to go wrong, and the cops begin to close in, poor old Dad tries to help out his ingrate of a son but is it all just too late? It doesn't hang about, the narrative is well paced and the romance kept to a minimum which really helps this to stay on track. Thora Hird and John Horsley crop up now and again to add a bit of cornflour to the gravy, making for quite a watchable hour, or so.

Julius Rosselli (Dermot Walsh) is coming home for what his father thinks is just a visit. After all, the young man is going to Oxford. However, he soon admits that he's been thrown out of school. While you'd think his father would be furious, Mr. Rosselli (Charles Victor) adores his son and cannot imagine that he is a bad sort. But Julius is spoiled and rather hateful--and soon falls in with criminal elements. The bottom line is that he wants wealth and fun but doesn't want to work for it. It's a shame, as he's not only hurting his father but has just convinced a nice lady to marry him and she is bound to be disappointed in her husband. All the while, Mr. Rosselli loves his son and puts up with all sorts of verbal abuse from the guy. You really want to see Julius get what he deserves and what happens next, you'll just have to see for yourself. However, expect the unexpected in this lovely little crime film.

"The Frightened Man" turned out to be a dandy movie despite the very low budget and a cast consisting mostly of lesser-known actors. The script was great--with some wonderful characters and a great plot twist near the end. Walsh, in particular, did a great job in his portrayal of Julius--the guy you love to hate. However, Victor also did a darned nice job. Overall a very good film with everything going for it but a big budget. Well worth your time.

This is not as good as a Rathbone/Bruce Sherlock Holmes movie,by any stretch of the imagination. That being said,it is still a good, entertaining film. The camera work is well-done. The plot is reasonably plausable and easy to follow. Overall,a suspenseful little gem of a movie. Well worth watching.

I just feel the need to begin by noting that the promotional poster/art for this film is very misleading and should be disregarded. Now, onto the film itself: I was anticipating something good but my expectations were greatly exceeded. The story itself is very solid and the script fully supports it through to its final conclusion. The entire cast does a fine job with Victor, Walsh, and Murray all delivering exceptional performances. Gilling does well in directing this thoroughly engaging and interesting film from beginning to end. Its is very British in all of the best ways and I can hardly think of a recent film that so thoroughly delivered such entertainment in such a short run time. The Frightened Man is definitely one to check out.

I watched this film on Talking Pictures a few weeks ago and I can only say that it had a good story line. Although I think with more famous and charismatic actors, along with higher production values, the film could have been one of the more popular films of the 1950s.

I will again emphasise that it was a very good story line, but more could have been done with the plot.

It was unusual to see Dermot Walsh as a delusional, misguided and inexperienced robber. He usually plays the noble hero. Many people of my age will remember him in the television series "Richard the Lionheart" in the early 1960s, which was very popular with a lot of children - the episodes were often reconstructed when we went out to play afterwards.

But going back to "The Frightened Man", maybe I have missed the point of the whole film - before I submit this review, I may have watch it again on the recording that I made of it.

The enlightening qualities of the film, as well as showing that crime does not pay - not very well anyway - it depicted the more seamier and less glamourous side of London in the early 1950s. Whereas other films such as "Doctor in the House" and "Genevieve" make the era look envious and make us all yearn for the "good old days" when life seemed a lot simpler, this film gave us the opposite view.

The film depicted people working hard to make enough money just to survive on. It showed grey buildings, still dilapidated after the effects of the Second World War - and if other films showed us how nice people were in those days, this film didn't - there were a lot of bad people around in those days.

However, the film had a neat twist at the end and the closing scenes were so poignant that I nearly had tears in my eyes.

Finally, I would like to say a few words about Charles Victor, a very undervalued character actor of the 1930s, 1940s and 1950s. If this film had been anything more than a 'B' picture and second programmer, his performance as an old Jewish, junk dealer, with contacts everywhere, would have been worthy of an Academy Award.

He comes home to his father in London with an Antiques shop after having been sent down from Oxford. The father is devastated but that is only the beginning of his tragedy, which gradually unfolds more and more to reach the dimensions of a Greek tragedy in its fathomless abyss of misfortune. His father has done everything for him, worked hard all his life for his son to have a fine education, but the son just rebels and associates with doubtful characters in the pursuit of fast money, and it goes from bad to worse. His marriage might save him; like his father his young wife can but idealise and think the best of him, while he commits the mistake of trying to fool them all. You can't do that perpetually. Still, when all is lost his father tries to save him one last time, but then even his wife has been forced to open her eyes and discover the truth.

There are many issues here, many questions and much to wonder about, and the father ultimately blames himself for having been a bad father - they always do, when the sons go wrong, although they were the best of fathers. When the tragedy is a fact there is nothing you can do about it but try some philosophy, but in the end not even his philosophy will comfort the father. Charles Victor makes a fine performance as the severely tried father, who never tires of giving up hopes for his lost son, no matter how hopeless he is.