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Being vaguely aware of this obscure British noir, I had acquired it a few years ago from a film buff friend of mine (who also happens to be an award-winning lyricist) following a biography shown on local TV of Maltese film actor Joseph Calleia. It had not occurred to me to include the film in my ongoing Thriller marathon; however, I could not very well leave it out once I read, just a couple of days ago, an article about "Time Out"'s recent "100 Best British Films" in which contributor/French film director Bertrand Tavernier bemoaned there not being enough room in his Top 10 list for, among others, NOOSE! I was under the mistaken impression that the copy I got was of inferior quality which would not best be suited for display on my 40" monitor which is why I watched it on a much smaller screen but, as it turned out, the film did get released on DVD in the UK.

Adapted from his own stage play by Welsh writer Richard Llewellyn (best-known for having penned John Ford's 1941 Oscar-laden HOW GREEN WAS MY VALLEY), the film largely escapes its theatrical roots thanks to Greville's admirably Expressionistic direction that should have earned it a much better reputation (even among fans of the genre and film buffs in general) virtually comparable to that nowadays enjoyed by Alberto Cavalcanti's THEY MADE ME A FUGITIVE (1947) and Jules Dassin's similarly Soho-set NIGHT AND THE CITY (1950; with a wrestling back-drop to NOOSE's prizefighting milieu)! Actually, I do think there is a reason for this neglect since, rather than the relentless post-war bleakness and realism associated with this type of film, there is a welcome air of theatricality (in the acting) and light-heartedness (in the comic incidents that crop up intermittently).

Carole Landis, who for some reason is forever losing her shoes, is a bit too jovial for a noir heroine; ironically, she would die a suicide later in the year, after completing BRASS MONKEY (1948), another genre effort which I hope to acquire (and include) in my current schedule. Derek Farr, too, is a bland leading man – though, as already mentioned, he manages to organize a boxing outfit into efficient opposition to the gangsters involved. On the other hand, Joseph Calleia has one of his better roles: atypically, he received before-the-title billing for this rare foray to the U.K. (incidentally, at the time, our native country was a British colony) and is constantly breaking into Italian and singing operatic arias; though something of a caricature (especially in those scenes featuring his luscious starlet protégée Carol Van Derman), his is an impressive performance regardless. Despite figuring way down in the cast list, Nigel Patrick is really the protagonist as Calleia's right-hand man: he brings such manic energy to the role that it would not be amiss in a screwball comedy!; in fact, on the strength of this, I managed to get hold of Patrick's intriguing self-directed religious parable JOHNNY NOBODY (1961). Stanley Holloway, then, tackles an unusually serious role as the cop on Calleia's trail, while Hay Petrie gives a memorably chilling portrayal as Calleia's combination of private barber and assassin (actually looking a bit like Claude Rains!).

One last thing: I watched this very late at night, believing it to be just 76 minutes long as given on the IMDb: presumably, this duration alludes to the U.S. release print that was re-titled THE SILK NOOSE – being a reference to Petrie's murder 'weapon'; however, the copy I acquired turned out to be the full-length British version running 98 minutes.

Although visiting American actress Carole Landis gets top billing in the 1948 British crime thriller, "The Silk Noose" (AKA "The Noose"), it's the much underrated English actor, Nigel Patrick ("The League of Gentlemen," "The Sound Barrier," "Raintree County") who steals this movie.

From his very first appearance yelping cheerful insults into a telephone, Nigel Patrick takes command of this unusual British crime feature, as a flip and glib Cockney gangster who is part conniving Phil Silvers (think "Sgt. Bilko"), part sleazy Michael Palin (think suavely snide East End hoodlum Luigi Vercotti in "Monty Python"), and part fast-talking James Cagney (think "One, Two, Three") .

So wacky and so unexpected and so hilarious is Patrick's maniacal insincerity that you may drum your fingers impatiently during the few scenes that he's not on camera being cheerfully devious -- however action-packed some of those scenes may be. (There is considerable action in "The Silk Noose," some of it nail-biting -- this, after all, is a near-noir crime story with an alarming body count -- but on the whole it's comic-book roughhousing, best captioned by "Pow!" " Bam!" and "Oomph!")

Written by Richard Llewellyn ("How Green Was My Valley," "None But the Lonely Heart"), "The Silk Noose" homes in on "spivs," British racketeers of the late 1940s , grown fat on wartime black market profits, and now still doing their bit for Britain by blithely counterfeiting, smuggling, and, for all we know, loitering and littering. (It may take you back to Jules Dassin's more earnest, better-known "Night and the City," with Richard Widmark, which came along two years later.)

In this particular case, the local don, Sugiani (Joseph Calleia), prefers to perform his perfidy out of a posh Soho nightclub that features très chic chanteuses and très cher champagne. Looking like a Satanic Cesar Romero, Maltese-American actor Joseph Calleia cheerfully overacts, shaking his part until it cries "Basta!" Both sinister and jovial at the same time, Calleia's gangster could be seen as a stand-in for Mussolini – posturing, threatening and begging for adoration simultaneously.

Make no mistake, for all his charm and over-the-top grand opera posturing, Sugiani can be a very dangerous man, particularly when issuing orders to his very own Heinrich Himmler, a spine-chilling personal assassin known as "Barber" (the great Dickensian character actor, Hay Petrie), an unctuous, leering Claude Rains-clone who scuttles around a bleak London like a human cockroach, using a silk stocking ("the noose") as his preferred means of dispatch.

Nigel Patrick's Bar Gorman is Sugiani's right-hand man and/or partner. He could also be a stand-in for Nazi propaganda minister Joseph Goebbels, particularly when barking orders over his huge desktop intercom or trying to wheedle favorable newspaper publicity. The relationship of the two crooks is complicated, and at times the two suddenly snarl at each other like strange dogs passing on the street, then as quickly make up. It's an insane partnership made in Hell, and the two men, continuously on edge, are a fascinating team, blending affinity, iniquity and irrationality.

Into this hidey-hole of Axis-style moray eels merrily steps the Dior-dressed figure of Carole Landis, an American fashion editor working for a London newspaper (don't ask). Dressed to the nines in every shot, Landis, as a brash and beautiful career girl, puts across a delightful sassiness as she investigates a grisly London murder that isn't getting the attention she feels it deserves.

As expected, the trail leads to the bad, bad Sugiani, but, surrounded by his thuggish hirelings, he's apparently invulnerable. However, in a twist reminiscent of the creepy Peter Lorre classic, "M", the muscle-bound laborers of London's docks and markets are enrolled in a vigilante lynch mob, the lumpenproletariat out to take back their streets, and a rousing if unconvincing version of class warfare breaks out as the forces of Good, wearing football jerseys, battle the forces of Evil, in dinner jackets.

With all this, "The Silk Noose" would still be just another dated British "spiv" movie -- though with a few comedic grace notes -- but for Nigel Patrick's virtuoso performance and these three significant particulars :

1. Stanley Holloway, the beloved Alfred P. Doolittle of "My Fair Lady," plays a very well-dressed Scotland Yard inspector who may be on the take, and does it up well. He has a surprisingly commanding presence as a top cop and uses his authoritative voice to get your attention and hold it.

2. The director was Edmond Gréville, who had apprenticed with the legendary Frenchman Abel Gance ("Napoleon") . Besides pacing the movie with fast rhythmic editing, he offers up a boutique of superimposed images, extreme close-ups, artistic camera angles and surprising staging, so you don't dare blink for missing some exciting shot or experimental exposure. (For instance, he shoots one nightclub scene through the multifaceted glass top of a perfume bottle -- giving it the vertiginous viewpoint of a drunken housefly.) There's also an unexpected degree of eroticism, which marked many of the films of this half-French half-British director.

3. "The Silk Noose" was to be the next-to-the-last movie of the tragic Carole Landis, who had died by the time of the film's release in August 1948. A delightful actress with unrealized potential, she had worn herself out with endless USO tours: she had traveled more than 100,000 miles during the war, had spent more time visiting troops than any other actress, and had even caught a nasty case of malaria. By the time she killed herself at the age of 29, she had been married five times. Under still mysterious circumstances, her body was discovered by her married boyfriend, actor Rex Harrison , who, almost two decades later, was to appear with Stanley Holloway in " My Fair Lady", a triumph for them both.

I rated this film with 6/10 mainly because the final punch-up by the boxers with the mobster gang was inconsistent, being almost comic slapstick with what had gone before involving which involved killings.As is commonly known Carole Landis had been a girlfriend of Rex Harrison and possibly through blighted affection committed suicide the same year as this film aged 29.Nigel Patrick plays an immoral cockney spiv not so ruthless as his partner an Italian gangster played by Joseph Calleia who is prone to lapse into "Don Giovanni" by Mozart occasionally.Stanley Holloway as the detective plays his part without any of the humour found in many other of his film portrayals.Derek Farr gives an unremarkable workman-like performance as the fiancé of Carole Landis.

I was surprised to find this full length 1948 film on Youtube probably because it is in the public domain and therefore out of copyright.

American journalist Linda Medbury may be on the staff of a London newspaper to cover the fashion column but this is not going to stop her covering other stories that she comes across. However when she gets onto the extensive racket run by Sugiani, nobody can convince her of the plain and simple fate that has come to anyone who has gone toe-to-toe with his operation. So while Linda continues to work to expose Sugiani for who he is, her military boyfriend Captain "Jumbo" Hyde gathers many men as he can from his associates to protect her in place of a police force defeated before they begin by corruption.

This summer the BBC delivered a season of British films and, to their credit it was not the usual parade of Dam Busters, Zulu and other Bank Holiday favourites but rather an interesting mix of films that are rarely seen. With 26 votes to its name on this site, it is perhaps fair to say that The Noose was one of these. The style of the film is a bit mixed. At times it appears to be every inch a British version of the American gangster film but then at others it is more of a comedy with cheeky chappy clichés kicking around in the shadows. As a result it doesn't totally hang together and I found myself distracted and my interest broken up by the inconsistent tone.

However it is still of interest and does have scenes of value. We do get moments that are easily comparable with the strongest from American noir and we do get amusing characters that remind us where we are but again, these things seem to be working against one another. Gréville's direction is good in regards working with his cinematographer but in terms of solving the issues over the narrative flow, he cannot. Nor can the cast either, and many of them seem to be in different films unfortunately. Landis is enjoyable in the lead – she has what the experts would call "spunk" and it brought a bit of spark to the film. Farr is no more than serviceable and sadly the film sags when he is the focus. Calleia is a solid villain but the problem is that he isn't playing it straight and tough and he has an air of flamboyance about him. There is nothing wrong with him in this regard it is just that, within this film it is Nigel Patrick that dominates that sort of area with a wonderfully comic caricature that he works well.

An interesting film to see then for its attempts to do what it does within a British context but it is the inability to either hold a consistent tone or blend the different ones successfully that sees it be a lesser film than I would have hoped. I would have liked to be able to praise it on account of it being obscure and thus me looking cool but as it is it is interesting but not all that great.

The Silk Noose, or Noose, as it is also known, from 1948 is a British film starring Carole Landis as a fashion writer for a newspaper.

It's post-war Britain, and despite the war being over, there are many items that are hard to get. An Italian black market racketeer, Sugiani (Calleia) runs an operation in black market goods. So far, the police haven't been able to get them.

A fashion writer, Linda Medbury (Landis), is determined to bring down the gang, although her publisher would rather she stick to clothes. The front for the group, The Blue Moon Club, winds up with a corpse, which sends Linda's reporter tentacles high.

Linda finds herself in danger as does her source. Her fiance is determined to protect her and bring down Sugiani at the same time. It won't be easy.

Sometimes this film seemed like a comedy, particularly with the rapid fire dialogue of Nigel Patrick as a cohort of Sugiani's, and a woman losing her dress toward the end of the film. The last twenty or so minutes has a lot of action.

This was the beautiful Landis' second-last film. What a waste of talent. She gives a vivacious, likeable performance here. Unfortunately, her career fell on hard times when she ended her relationship with Darryl F. Zanuck. Unhappy with her career and misguided in her search for love, she committed suicide. Life in Hollywood for a woman was always extremely difficult, and she was one of its victims.

NOOSE is a well-plotted but oddly uninspiring little crime film which deals with efforts to bring down an Italian black market racketeer operating in London following WW2. His sheer breadth of power means that the authorities are powerless against him, until a lone female reporter decides to write a scoop that brings him out of the woodwork and up against her.

There's some great material in the narrative here, including a completely amoral villain who enjoys using knuckle dusters to beat up women! The stark gang violence makes ahead of its time, but it's a pity that the execution is less than stellar. The film plods when it should grip, and it only really gets going in the last twenty minutes or so, with an unusual and rather powerful climax. It's one of those rare films where the women are both empowered and sexualised, leaving the men looking weak by comparison.

The tragic Carole Landis stars in her penultimate acting role before her untimely suicide and very good she is too: bright, brassy, and running rings around the menfolk. Joseph Calleia and Derek Farr are rather uninspired as the rival protagonists, though we do get the likes of Stanley Holloway in support, and even a brief cameo for Michael Ripper. Nigel Patrick is something of a scene stealer as a loud-mouth spiv, and although his telephone manner is absolutely hilarious, I found his brash character ended up being too over the top for his own good.

We have Nigel Patrick as a spiv on the loose in Lahndun Tahn (London Town), know wot I mean? He runs the black market operations but things have taken a turn for the worse as a girl is murdered and the finger of blame is pointed at his boss Joseph Calleia (Sugiani). Fashion reporter Carole Landis (Linda) puts it upon herself to bring down the bad guys.

Unfortunately, there is a comedy thread which runs throughout this film and this takes away any real tension from proceedings. Landis delivers wisecracks with extreme confidence in her encounters with the bad guys and this just doesn't ring true. She plays it wrong. She should be scared. After all, this gang has no problem with bumping off females - there are a total of 3 female casualties by the end of this film. Whilst the approach of Landis is wrong, the acting of two of the main characters is appalling - step forward wet lettuce Derek Parr (Jumbo) as boyfriend to Landis and Ruth Nixon (Annie) as girlfriend of Calleia. These characters join Landis in the land of the unconvincing. Parr does not convince as a character who can command any respect whatsoever and Nixon received no further roles of note. The best in the cast is the spiv and we do get some funny lines, especially from him. However, the story is just nonsense, especially the plan for the good guys to recruit everyone at the gym to foil the gangsters. In reality, they'd all be part of the gangster set-up.

The film has a running time of 76 minutes on imdb. Not true - it's at least 15 minutes longer than this.

Tangy post-War British 'Spiv' movie (a cycle of films with roots in 30s American Gangster movies, featuring characters profiting from wartime rationing in a similar fashion to 30s bootleggers, but not so clearly glamorised as their Stateside equivalents). Directed by Edmond T. Greville (BEAT GIRL aka WILD FOR KICKS), and adapted from a stage play, this features Carole Landis (in one of her final roles) as nosy reporter Linda Medbury who, together with her ex-commando boyfriend Jumbo Hoyle (played by Derek Farr), gets on the trail of a gang of post-war black marketeers headed by Soho nightclub owner Sugiani, played by Joseph Calleia (whose role was based on a real-life Post-war London criminal). This gets them mixed up with London 'Spiv' Bar Gorman, played by Nigel Patrick, whose slangy, comic performance almost overshadows the surrounding film. Imaginatively shot, speedily paced, and ripe with post-War vernacular and the requisite criminal dust-ups (primarily involving the good guys' recruited gang of boxers, market porters, and cab drivers versus the low-life criminals), this is an entertaining slice of British crime and deserves to be better known, as it's worthy of a place alongside such noted post-War British crime movies as BRIGHTON ROCK and NIGHT AND THE CITY. Check it out, if you get the chance.

Joseph Calleia and Nigel Patrick have built up a massive and occasionally underworld organization. When one of their murders comes to the attention of reporter Carole Landis, she begins a series of newspaper articles. Their increasingly threatening reaction does not faze her, but it leads her boyfriend, Derek Farr, into organizing an armed rebellion. In the meantime, slogging police inspector Stanley Holloway is closing in from his own end.

The script is by Richard Llewellyn, based on his stage play. It's been properly opened up for the screen. The problem is that it's shifting tone, from comedy to drama, never quite works. Joseph Calleia, fine actor that he is, is saddled with a heavy accent and tries to be simultaneously funny and terrifying. Patrick's character spends a lot of time as a fast-talking Cockney, more interested in performing his comedy bits on the telephone, until he decides to suddenly take matters into his own hands and take charge.

The result is a movie that is never quite sure what it wants to be, and tries to distract the audience from that uncertainty.

In her next to last film Carole Landis goes across the pond with Joseph Calleia to star in this British production The Silk Noose. Landis plays a Lois Lane type reporter who is doing an expose of the post war English black market. The United Kingdom may have won the war, but the country was still without a lot of basic goods and rationing was still strict by the new Labour government.

Try as I might I could not wrap myself around the concept of an Italian running London's black market, especially with regard to the recent war with Italy. Still Calleia as always is one smooth operator who unfortunately has a temper with regard to bad publicity. Which is what Landis plans to give him.

Her ally is London cop Derek Farr who was a former commando in the late war. In a rather extralegal maneuver he gets the participation of some of London's boxing clubs as his raiding party. That's something that sure wouldn't fly on this side of the pond.

Nigel Patrick is on hand as Calleia's right hand man and Stanley Holloway is a somewhat compromised police inspector. The treatment here is most uneven and what should be atmospheric is somewhat dull.

The Year Is 1948 the war has been over for just three years, Britons are going to the movies in numbers never seen before or since. Hundred's of British films were being produced to meet the huge demand ever year. 75 years on and only a select few are ever seen or remembered today. This pot boiler can be viewed as typical ordinary everyday average fair, studio bound talkative and never very convincing in it's depiction of post war London Soho with it's blend of movie style glamour and movie style spiffs and street tough's. The acting like the writing is obvious and mechanical while the plot is tedious and drab with few highlights to melt away the minutes. I was unaware of this British neo noir until it turned up on Talking Picture's TV a marvellous channel for old school film buffs. This movie is only of passing interest even from a historical point of view, and back in the day of the continuous performance I suspect most cinema patrons of the time would scarcely of remembered the film more than I will. However as a reminder of post war attitude's and as a mild window back in to the distant past it has some merit.

Note: this is a review for the full-length UK version of this film entitled NOOSE.

It is always a pleasure to see a film noir that is not only entertaining, artistically satisfying and a little off-beat, but one that is little heard of. NOOSE, a British film from 1948, has many of the visual and plot elements of the American crime dramas made in the forties, and this one even features, unexpectedly, two American stars, Carole Landis and Joseph Calleia. Landis is a fashion reporter who, after getting a story from a girl who is later murdered, wants to get the goods on the man responsible for her death, a notorious and powerful black marketeer, even when she learns that it will entail personal danger to her. She is supported by her newly demobbed fiancé, who enlists a gang of toughs from the local gym to try to bring down the racketeer's empire. Quite a ride from here. --- The story was based on a play by Richard Llewellyn (noted for HOW GREEN WAS MY VALLEY), but it betrays little of its non-cinematic origins. Director Edmond Greville (a French-English director who began his career working with Abel Gance and ended it with the sleaze classic BEAT GIRL) lends the film considerable artistic flare -- the staging and camera angles will often surprise you; so much so that you sometimes believe you are watching an auteur film. Music is by the great Charles Williams (Dream of Olwen, Theme from the APARTMENT) and adds to the film. The cast is a standout, even though it occasionally seems to work to cross purposes. Carole Landis, who made her last two films in England, was not only an actress, but a singer, USO trouper, and baseball fan (her name came from Commissioner Kennesaw Mountain Landis!). Her career was lamentable spotty and her personal life a disaster, but she was a delight and it is a pity that shortly after this film she supposedly committed suicide (or, as some believe, was done in or something by her married boyfriend Rex Harrison.) Here she is vivacious and gives a performance well beyond that of the usual wise-cracking girl reporter. Derek Farr, always competent, seems bland by comparison and their pairing seems odd -- but the War did produce some odd couples. Joseph Calleia, originally Maltese, was a fixture in Hollywood during the forties and early fifties playing villains in gangster pictures and Westerns. As the kingpin black marketeer of foreign extraction he is simply superb, a performance Edward G. could not have bettered. Rivaling him for film time and stealing all his scenes, though, is Nigel Patrick as the flamboyant Cockney spiv who works for him. Stanley Holloway, known for comedic parts (LAVENDER HILL MOB, MY FAIR LADY) has an unusual dramatic turn as a policeman. --- This film is intriguing and eminently worth seeing, probably more than once, although, on the negative side, it is marred by an unevenness in tone, inconsistent pacing, and editing that disrupts the smooth telling of the story. -- also a few loose ends, such as what was the significance of Carole's character constantly taking her shoes off? Nevertheless, highly recommended for film noir fans!

Edmond Greville brought a gallic sensibility to this vivid evocation of the postwar days when Soho was a byword for criminality and vice, fluidly photographed by Hone Glendinning and ending in a slam-bang finale.

Obligatory American imports Joseph Calleia and Carole Landis both give excellent accounts of themselves as "the nastiest thug in Europe" and his nemesis "the best fashion editor in the business". A uniformly memorable supporting cast include Nigel Patrick in full-on spiv mode, John Salew as Patrick's perspiring courier rejoicing in the name 'Greasy', and Hay Petrie in his creepiest role since he played Quilp as a murderous henchman known only as 'The Barber'.

Chilling portrayal of a 'Maltese/Italian' villain running various enterprises in and around Soho,fronted by the inevitable 'Blue Moon' nightclub for slummers,enabled by his cheery chappy business manager and final solutions provided by a murderous barber/fixer. Hay Petrie is beyond creepy as this scuttling hunched figure who clearly enjoys his part-time job.

All dark atmospheres and motifs with Doom following both good and bad to the end. Watch out for the villain's final protege Mercia Lane, to whom he expresses dreams of being a princely patron of the arts while she is more comfortable reading Christopher Robin.