I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Amazing worth wacthing. So good. Biased but well made with many good points.

The movie really just wants to entertain people.

It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

A Betty E. Box Independent Production for Carillon Films, released in the U.K. through G.F.D. (25 December 1950), in Australia through B.E.F. (18 September 1952), in the U.S.A. through Columbia (August 1952). Copyright in the U.S.A. by General Film Distributors, Ltd., on 21 November 1950. New York opening at the Park Avenue: 12 November 1951. Registered: November 1950. "A" certificate. 8,647 feet. 96 minutes.SYNOPSIS: An ex-intelligence officer takes a job as a live-in assistant to a butterfly collector in the country, but the apparently serene household is not as peaceful as it seems on the surface.NOTES: Real locations were expertly utilized in London, Newcastle, and large areas of Northern England, including the Lakes District. COMMENT: A first-rate mystery thriller that builds suspense slowly and surely and then comes to one of the most stunning chase climaxes ever filmed, The Clouded Yellow boasts a really outstanding cast of talented players. Be sure to see only the full 96 minute version, not the version screened on American TV which has been cut down to 85 minutes. The loss of 11 minutes may not seem that much in theory, particularly as all the action material remains intact but without that necessary exposition which skillfully attracts audience sympathy to the lead characters, all the thrills seem somewhat empty and non-involving. Assisted by the expert cinematography of Geoffrey Unsworth, director Ralph Thomas has made absolutely brilliant use of a whole gamut of real locations. Howard gives one of his most vigorous performances as the man on the run, while the lovely Jean Simmons superbly conveys the troubled innocence of the engaging yet puzzling heroine.

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.

With having enjoyed seeing actors Jean Simmons, Kenneth More and André Morell appear in number of recent viewings over the last year all so,I was happy to find a title which starred all 3!,which led to me getting ready to find out how yellow the cloud could be.The plot:Badly failing his latest mission,British secret service agent Maj. David Somers is told that he must leave the world of espionage behind.Frustrated over no longer having any work,Somers decides to take a job cataloguing butterflies for Nicholas Fenton in his country house.Arriving at the mansion,Somers is introduced by Nicholas to his wife Jess,and their niece Sophie Malraux,who the Fenton's have been looking after,since the sudden death of her mum.Despite being told about her "issues" Somers finds himself falling in love for Malraux,and sticking up for her when farm hand Hick tries to push Malraux around.Waking up,Somers & Malraux discover to their horror that they will no longer be having any arguments with Hick's,due to him having been found dead,with Malraux knife in his back.Realising that someone is trying to frame Malraux for murder,Somers and Malraux decide to go on the run,in the hope of finding the real killer before the thunder clouds appear on the horizon.View on the film:Setting Somers & Malraux on the run,director Ralph Thomas (who after this would work again with producer Betty Box over 30 times!) and cinematographer Geoffrey Unsworth, (who was also the cinematographer for 2001: A Space Odyssey)give the filmed on location in the north of England outdoor scenes an atmospheric crisp appearance,which cast the title against an icy Film Noir backdrop,as Somers and Malraux find themselves having to go deeper into the countryside,as Somers former spying chums close in on them.Contrasting the chill from the outdoor scenes, Thomas and Unsworth turn the Fenton's country house into a haunted mansion,as stylish close-ups reveal the "ghost" haunting Malraux troubled memory.Giving the Fenton house a peaceful shell,the screenplay by Janet Green (a Film Noir by a women!) superbly chips away to show the darkness hiding within,as the Fenton's start to appear oddly keen over Malraux not being able to clearly remember about how her mum died.For the bubbling romance between Somers & Malraux,Green does very well at giving the relationship a smooth sweetness,which makes the rather sudden ending something that is easier to accept,as Somers shows Malraux how much she means to him.Chasing after Somers, André Morell gives a terrific performance as Secret Service Chief Chubb,with Morell showing Chubb to be oddly impressive by his former fellow spy Somers showing that he still knows how to use his former skills,whilst Kenneth More gives the flick a dash of charm as Willy Shepley.Entering the movie looking like a worn- down Film Noir loner, Trevor Howard gives a brilliant performance as Maj. David Somers,with Howard showing Somers relaxed manner to transform into a thrust to clear Malraux name,whilst the elegant Jean Simmons (who like the director,would work with Betty Box again for So Long At The Fair) tremendously shows Malraux fear in tracking down the killer in time,and remembering how her mum died,as the clouds start to part.

If it weren't for good old Trevor Howard, this film would not be nearly so interesting. He is always enjoyable to watch, as he is always convincing and we want to see what he will get up to. Here he is thrown out of MI-6, the foreign secret service, rather unceremoniously after years of brilliant service in the field, and has to find some work. He ends up taking a temporary job cataloguing butterflies, of which the Clouded Yellow is a particularly pretty one which comes across the English Channel in a good summer and flutters around as delightfully as Jean Simmons. And yes, she is living in the rambling country house where the butterfly collection is. She is the psychologically disturbed and mysteriously orphaned niece of a rather creepy aunt and uncle. Or at least they say, rather too often, that Jean is psychologically disturbed. But is she really? Did she witness as a very young child what really happened to her parents? They say she 'found them'. But did she see who killed them? Clearly there is some vintage mystery material here. Jean Simmons at this stage in her career had very bushy eyebrows and looked more like a trapped wild animal than a girl. Alas, she did not have the magically convincing wildness of Jennifer Jones in GONE TO EARTH (1950, see my review), or this film could have become something of a classic. The direction by Ralph Thomas is also rather uninspired and pedestrian. So this film never really rises to the level of a butterfly's flight. Come to that, the story is pretty contrived and corny. The film is a tasty amuse-bouche, but should never be confused with a main course.