Boring

A lot of fun.

If you like to be scared, if you like to laugh, and if you like to learn a thing or two at the movies, this absolutely cannot be missed.

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

This is an overlooked film from the UK about a detective looking into a heist involving rare, valuable stamps. It's a pretty simple story but the acting and amazing cinematography make this film stand out.

This particular type of Detective mystery, set in the world of the professional and the prosperous, was a most unusual theme for what passed for the British film industry in the 1970s. The genre had gone out of fashion about a decade earlier, a situation that was to remain until the advent of the Morse TV movies in 1986. Nowadays, a format that may have seemed outmoded in 1973 can be seen replicated on channels such as ITV3 on most nights of the year. Too bad then that PENNY GOLD provides such a tame example.Fittingly, for a Jack Cardiff film, the photography is superb, as is the art direction. But in general, the director and his cast are unable to bring the characters or the uninspired story to life. James Booth is good as the Inspector though, with Nicky Henson as his faithful sidekick and there are all too fleeting appearances from Penelope Keith and Sue Lloyd. A crime story revolving around stamp collectors hardly sounds exciting to begin with, although there had been at least one thriller on the same theme before, BARBADOS QUEST, with Tom Conway in 1955. Then fairly early on we learn that the murdered woman, whose face had been damaged beyond recognition, is one of twins, one good, the other evil. You hardly need to be Hercule Poirot to see where this is going. The film's at its worst when the murder of a typically tedious character is announced, which we're then shown in a slow-moving flashback. I could hardly wait. The location shooting and reminders that the Britain of forty years ago was not the nanny state it is today hardly compensate for moments such as this.

The British film industry was dying on its feet when this film was made in the early seventies.The fact that it was directed by Jack Cardiff speaks volumes.Anyone can see the basic premise of the plot after only about 10 minutes.So there isn't a lot of suspense merely an interest as to how the plot unravels.Booth seems to be doing an imitation of Jack Regan but despite the car chase and the rough handling of suspects this is no "Sweeny".Penelope Keith is seen in a small role before her rise to fame.This is the sort of film that was far more at home on the TV screens than on the cinema screen.At the end of the day this is little more than a potboiler.

Despite obviousness of many plot elements within this work directed by renowned cinematographer Jack Cardiff, it is quite possible to enjoy the film for its merits that include expected polished camera-work and lighting, but also superlative design, plainly a result of competent research, and atmospheric settings about Windsor Castle, to the benefit of a somewhat unfocused crime melodrama involving murder in the normally staid world of philately. Action opens in a flat close by the Castle with a young woman, fresh from a shower, being bludgeoned to death, over two dozen blows to the face making her corpse essentially unrecognizable, and when Detective Inspector Matthews (James Booth) launches an investigation he learns that the deceased was one of a pair of decorative and identical twins, performed by Francesca Annis, the surviving sister, Delphi, employed by their guardian, a prominent stamp collector, with the titular item, a piece of enormous value, being target of a plot to steal it, this somehow connected with the homicide. Filmed at London's Pinewood Studios complex and on location in the vicinity of Windsor Castle, including the House on the Bridge Restaurant atop Windsor Bridge, the windows of which offer an agreeable view of the Royal edifice (enjoyed here at lunch by Matthews and Delphi), the film suffers from credibility factors and an oddly structured use of flashbacks, but a John Scott score is reasonably effective (there is a seamless inclusion of police sirens!), and Cardiff leads his players well. There is not a weak portrayal from among the cast, with even the monochromatic Annis being largely believable, Booth and Nicky Henson providing strong turns as the case investigators; Joss Ackland gains acting honours as Jones, supervising police official in the matter.