The Age of Commercialism

Beautiful, moving film.

A Masterpiece!

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

A top journalist, Jack Moir (Conrad Philips), is framed for a train robbery by nightclub owner and Soho crime lord, The Duke (George Pastell), because he considers that he has become too interested in his activities in his newspaper columns and fears that it could arouse the interest of the police. Moir does time but, when he gets out, he vows to bring The Duke to book.An utterly routine and totally missable crime thriller from Britain's poverty row studio Butcher's Films. The Cinematograph Act 1927 stipulated that UK cinemas had to show a certain number of British made films. The result was what became known as the quota-quickies - cheaply and hastily made movies that earned themselves such a bad reputation that they gave our film industry a bad name. Yet, there were some exceptions that have become to be regarded as classics but, alas, this is not one of them. Its ultra-low budget is evident with its rickety sets - it clearly did not stretch far enough to shoot a train robbery sequence! - and never did an hour seem like an eternity as it is all chat and no interest. The film's brightest moments come from Ballard Berkeley as Moir's boss and Linda Marlowe as his girlfriend who offer energetic and likable performances in what little screen time they have. But, unfortunately, they are not given enough to do and any brief flicker of enthusiasm quickly evaporates.

This is a 1960s B movie short. Its a poor film which starts interestingly enough but quickly loses impact.It is low budget, inspires to be some type of American gangster flick and has some straightforward performances, s dicey script with more holes than a colander.It is rather surprising to see Ballard Berkeley better known as the Major in Fawlty Towers as a younger and a rather straight talking newspaper editor.Conrad Phillips plays Moir, an experienced crime reporter who has been pursuing a gangster known as the Duke. The Duke in retaliation fits him up for a train robbery and the police arrest him and he is sentenced to two years in jail. In jail Moir plots his revenge.I have big doubts how the police would think a well known crime reporter can suddenly get involved in a train robbery. As for the revenge plot where the climax takes place in a cold storage warehouse is underwhelming in its sheer hokeyness. I think the film-makers got bored as it suddenly ends.

If you are of a certain age ,like me you will remember films like this on the supporting half of double bills at your local Odeon,Gaumont or ABC.Some of them were quite good.Unfortunately this is not.It is riddled with implausibilities.For budget purposes much of the action is described rather than shown.The initial set up is implausible.After all wouldn't it have been easier for Phillips to have been killed or beaten up rather than locked up in prison.Wouldn't the police have thought that it was rather unlikely to have found some of the stolen mailbags in a car at the station.Phillips would have been sentenced to nearer 10 than 2 years if he had struck down a policeman.Maybe even 30 years as the Great Train Robbers.Then when he gets out he goes to the club and then sees the "witness".I could go on but little point .This is on the same disc as Serena which is a far superior film.

**ENDING SPOILER(ISH)**Second feature idiocy in which Phillips is an aspiring journalist who inconveniently finds himself accused of a train robbery. With the help of his girlfriend, several rusty cans of worms are opened on the tracks to proving himself innocent.The jury were also unanimous on Phillips' co-screenwriting ability it would seem, as he had not been given the chance to do so before this and was afforded even less chance to do so afterwards.