“SHORE LEAVE SHENANIGANS”

By Raymond Benson

British noir is a slightly different animal than American film noir, which began in the early 1940s in Hollywood and lasted until roughly 1958 (if one is considering “pure” film noir and its singular traits). The British version, as well as the French and Italian editions, usually concentrates on a more “straight” narrative form with less melodrama. It is probably more true-to-life, drawing from the naturalism of Italian Neo-realism, than its counterpart across the Atlantic. It is certainly less histrionic and heightened. Nevertheless, British noir contains hallmarks of noir everywhere—black-and-white, Expressionistic photography; cynical and hard-edged characters; femmes fatale; brutality; and, of course, a crime.

Pool of London is a 1951 Ealing Studios crime drama (the studio was still making other genre pictures other than comedies at this time) that takes place in and around that geographical site. The titular “Pool of London” is a shipping port of the Thames that stretches from London Bridge alongside Billingsgate on the south side of the City. At one time, it was ripe for criminal activities, mainly smuggling. It is an ideal setting for a noir movie, especially with the post-war dreariness that still hung over the area when the picture was made. This gritty milieu serves as the movie’s own production design, as DP Gordon Dines shot most of it on location.

The film also has a couple of James Bond connections. Earl Cameron, the Bermudian actor who worked for decades in Britain in film and television, was “Pinder” in Thunderball. Coincidentally, the co-screenwriter (with John Eldridge) is Jack Whittingham, the writer who worked with Ian Fleming and Kevin McClory on the early drafts and screenplays of the same film, from which the 1965 Bond movie was adapted.

The merchant ship Dunbar has pulled into the Pool of London, giving its crew shore leave. Dan MacDonald (Bonar Colleano, an American actor who worked in Britain until his untimely death in the late 50s) has at least a couple of girls in the port, and sets out with his friend, Johnny Lambert (Cameron) to hit the town—such that it is. Maisie (Moira Lister) is Dan’s main squeeze, but she becomes the femme fatale of the story when she later betrays him to the police. Dan is now probably more interested in Sally (the striking Renée Asherson). Johnny hooks up with Pat (Susan Shaw), which provides Britain with the first interracial relationship depicted on screen.

Meanwhile, acrobat/magician/music hall performer Charlie Vernon (Max Adrian) has plotted with some local gangsters to steal a cache of diamonds. Because the Dunbar sailors are accustomed to performing minor smuggling as favors for friends and girlfriends, Dan is unwittingly enlisted by the criminals to smuggle the diamonds out of London aboard the ship for delivery elsewhere. Unfortunately, a night guard is killed during the burglary, so the heat to catch the bad guys is intense. Only then does Dan realize what he’s carrying, and what he needs to do to make things right.

This is taut, engaging filmmaking that quickly establishes a mood and sense of place that holds the viewer captive for nearly 90 minutes. The music by John Addison is subtle and low key, and yet it contains a catchy orchestral riff that stays with the viewer after the movie is over. Basil Dearden’s direction is reminiscent of that of American Anthony Mann’s noir work. In short, this is a good time at the home video theater.

Kino Lorber’s new high definition restoration (from StudioCanal) looks great and is properly gray and grainy. There is an audio commentary by entertainment journalist and author Bryan Reesman, as well as an enlightening recent interview with actor Cameron, who, at 102, is still alive at the time of writing! An additional supplement is a locations featurette presented by film historian Richard Dacre. Trailers for this and other Kino Lorber releases round out the package.

Pool of London is highly recommended for fans of British crime pictures, Ealing Studios productions, and film noir in general.

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