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They Made Me a Fugitive

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Hooray for Kino on Video for continuing to locate and digitize the best available prints of often forgotten but entertaining American and international films.

American film noir style from Britain? THEY MADE ME A FUGITIVE (1947) stars Trevor Howard as a lighthearted but bored ex-GI who -- mainly for fun and money -- joins a gang of racketeers. But when he challenges his sadistic boss, he's framed for murder and put in the slammer. Now hateful and bitter, he breaks out of prison and heads to London on a rage-filled mission of revenge. The no-nonsense direction by Alberto Cavalcanti and Otto Heller's brooding, atmospheric cinematography enhance the taught script from playright Noel Langley (he wrote the Wizard of Oz screenplay). A terrific movie. Intelligent, provocative and intense.

Purchased on a whim, this release has been sitting on my shelf for quite awhile before I got around to watching it. I don't know, maybe the title seemed too sensationalistic for me to have taken it seriously, but don't let that stop you. They Made Me a Fugitive (1947) is an superior British film noir classic that is well worth your time.

Directed by Alberto Cavalcanti, or, Cavalcanti, as he is credited on screen and starring Trevor Howard who also starred in other films like The Third Man (1949), Mutiny on the Bounty (1962) and Von Ryan's Express (1965), to name a few. Also starring is the very attractive Sally Gray, a leading lady in 30's British cinema. The story was adapted by Noel Langley, who also wrote The Wizard of Oz (1939), as is based on a novel by Jackson Budd.

Howard plays Clem Morgan, and ex-RAF flyer back in England after escaping from a German prison camp. Life isn't so good, and Morgan ends up throwing in with a criminal black marketeering gang led by the ruthless, sadistic and psychopathic Narcy, short for Narcissus, played excellently by Griffith Jones. Gray plays Sally, Narcy's girlfriend, for the time being. Narcy brings Morgan into his organization, hoping to add a little class and respectability with Morgan's more refined manner and upbringing, but soon sours on him as Morgan discovers that one of the many things Narcy's gang deal with is dope, and Morgan wants nothing to do with the junk. This causes Narcy to set Morgan up to take the fall, and Morgan ends up in the joint, doing hard time for a murder he didn't commit. Also, Narcy had eyes for Morgan's girlfriend, which causes Narcy's current girlfriend to take exception, that is, until Narcy shows her just how nasty he is beating the tar out of her after she visits Morgan in jail to get a feel for him, and see if she can use him somehow to get Narcy back. Needless to say, after the severe beating she receives, thoughts of wanting Narcy back soon dissipate. Anyway, Morgan, now serving a long prison term, has thoughts of revenge on the brain, and soon manages to escape. Hatred is strong in this one, and he makes his way back to settle old debts. With the police hot on his heels, and Narcy and his gang preparing for Morgan's eventual appearance, does Morgan have a chance? Will he be able to clear his name? Will he get revenge on those who so richly deserve it? Maybe, but I won't tell, as I feel I may have said too much already...

I thought this was a really wonderful film filled with rich, detailed characterizations and an exceptionally strong story that kept rolling along, rarely letting up on the viewer. The dialogue was quite exquisite, reminding me much of some of Humphrey Bogart's films, with its' snappy retorts and sarcastic wit. The tense drama was perfectly offset by bits of humor in the remarks throughout the movie, really breathing life into the characters. There were one or two minor plot points that seemed contrived (see the scene at the end between the male and female character), but this only stood out for me because the rest of the film was so good. The settings are wonderful, providing a perfectly suited backdrop for the elements within the story, and just enhancing the proceedings immeasurably. Near the end, during the climatic scenes where Morgan faces off against Narcy and his gang, the tension was ripe, and I almost felt like I was watching a Hitchcock films, as I was unable to take my eyes off the screen. The cockney accents and talk did get a bit thick at times, but I found myself falling into to it nicely, and following along quite easily.

Kino presents a really good print of the film here, along with excellent audio. There are no special features, but I am completely happy to see such a wonderful film available in such good condition. If you like crime noir films, or, even if you just like good movies, you will not be disappointed here.

Cookieman108

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Not to be confused with the 1939 American Busby Berkeley film THEY MADE ME A CRIMINAL; this is a Brit Noir. Of the two 1947 British noirs, THEY MADE ME A FUGITIVE, in my opinion, blows BRIGHTON ROCK right off the pier.

Directed by Alberto Cavalcanti, the film is a veritable textbook of movie direction and editing. Otto Heller provides some wonderful cinematographic work on Andrew Mazzei's superb art directed sets. The best images emerge in the last third of the picture, just as the plot and character development gel too. Few films will remind you more of Alfred Hitchcock's best British output.

The simple plot involves ex-RAF flyer Clem Morgan (an early role for Trevor Howard), who unwisely hooks up with a gang, running booze and cigarettes. The gang is led by Narcy (Griffith Jones), who might remind you of a slimmer version of Dillinger, as played by Lawrence Tierney in 1945. Clem and Narcy have a falling out, and Clem is framed for murder. But Clem escapes and begins his hunt for Narcy.

Supported by some very good character actors and a fine Noel Langley script; this film is not only one of the most beautifully shot noirs, it is also a 'slow burner' that delivers. But be warned; THEY MADE ME A FUGITIVE set a new standard for noir violence, especially depictions of it against women.

One of the forgotten gems of Postwar British cinema, "They Made Me a Fugitive" is directed with verve by Alberto Calvalcanti, best rememebered for the terrifying ventriloquist episode in "Dead of Night". The movie gives a young Trevor Howard a tremendous part as a high strung ex-fighter pilot who cannot wind down from the stress of war and ends up mixed up in black market crime. Filmed by superb Czech cinematographer Otto Heller the movie combines Calvalcanti's documentary experience with moments of great visual style. Made during the coldest winter in a century, with the outdoor scenes shot at Dartmoor, the snowy and foggy landscapes appearing in several scenes convey a constant atmosphere of dark and numbing cold - the cast constantly bundled up in layers of coats, taking them off and putting back on.

The sorid nasty story met with serious censorship problems, but director Calvalcanti was able to make the film largely as he wanted. The result: scenes of brutality never before seen in British film, including a hulking mobster beating a defenseless woman why other gang members casually sit by afew feet away, playing cards. When the film was released in America, as "I Became a Criminal", nearly twenty minutes were cut - rather astonishing when at the same time American film noir was depicting equally repellent, violent, and sadistic images. The leading men act against their career types; elegant Griffith Jones turns out a superb performance as a vindictive mobster who constantly obsesses with his own discomfort with incivility, while the sensitive Trevor Howard of such earlier films as Brief Encounter, stuns as a emotionally contorted and intensely bitter fugitive struggling with moral ambiquities far beyond the romantic. Leading lady Sally Gray is a striking blonde, she has some of the haunting beauty of Gene Tierney, and together with her counterpart, the endearing Rene Ray, gives the film a solid pairing of sympathetic actresses.

Perhaps most intriquing is the film's black wit, which runs like a leit-motif in scene after scene. Opening at a funeral parlor named the Valhalla Morturary, its roof capped with ten foot letters, R. I. P., the desparate story of revenge and pursuit has endless sharp dark quips on death, many by veteran actress Mary Merrall, playing the old matriarch of the gang.

A great surprise, and a must see for all Trevor Howard fans!

This is a fine example of the gritty gangster movies Britain produced in the late Forties and early Fifties. We're talking wet cobblestone streets at night in Soho, brutal black marketeers who don't mind beating a woman with a studded belt, betrayal and revenge. Note that elements of the plot are discussed.

Clem Morgan (Trevor Howard), a bored ex-RAF man, is recruited by a friend, Narcy (Griffith Jones), to join his gang of black marketeers. Narcy deals in everything from whiskey to cigarettes, using his funeral business, The Valhalla of Undertaking, as a front. Narcy runs the show. He doesn't like opposition, he doesn't mind force, he has a mean streak, he enjoys a bit of cruelty. When Narcy moves to drugs, Clem says he wants out. Narcy says, "Sure," and arranges a frame-up that sends Clem to Dartmoor for 15 years on a manslaughter rap for the death of a bobby. When Clem realizes Narcy had framed him, he escapes from a work gang and heads for London and a showdown. As he says, "When a bloke gets put away for 15 years he doesn't curl up with a good book. He gets bitter. He gets a pain in his guts. He wants to lay his hands on the double-crossing swine who put him in."

Clem's only ally is a former girl friend of Narcy's, Sally (Sally Gray), and gradually the two of them become close. Clem's purpose now is not just to get his own back at Narcy, but to get Narcy to confess that he was innocent of any crime. And the police? They're close on Clem's trail. They may think Narcy was behind things, but there is no evidence that would clear Clem.

The end of the movie is bleak. Narcy is dead, but justice hasn't triumphed. With his dying words Narcy continues to implicate Clem. The detective superintendent takes Clem's arm and moves him away from Narcy's body. We'll look at all the evidence again, he tells Clem, and maybe there'll be something. Clem turns to Sally. "You must forget about me, Sally," he says. "It'll be easier than you think."

"I'll wait for you, Clem.".

"That's what I was afraid of," he says, and he's led off.

The movie is well-acted, moves briskly and has two excellent set pieces. In the first, Clem after breaking out of prison meets a woman who takes him into her home, says she'll help him and only asks one favor. The discussion of the favor over the dining room table while Clem eats is almost as odd as the favor itself, but not as deadly. The second is the climax that takes place in the Valhalla funeral parlor. It's rough and violent. Much of the action takes place in and around caskets and on the wet slate roof of the building two stories above the street.

Trevor Howard has always been an actor I've admired. He made some excellent British films in the Forties and early Fifties, went to Hollywood and then gradually settled into a long series of star character parts in mostly A-list but not very good or interesting movies. He brought a lot of skeptical intelligence to his roles, and perhaps this quality limited Hollywood's interest in him as a lead actor. At any rate, if you want to see why Trevor Howard became a star, start with these British films: Brief Encounter, Green for Danger, I See a Dark Stranger, The Clouded Yellow and They Made Me a Fugitive. Then move on to two magnificent performances in The Heart of the Matter and Outcast of the Islands. Unfortunately, Outcast of the Islands is not available, but snap it up if it ever comes out on DVD.

The DVD of They Made Me a Fugitive is not great but is certainly much better than average. There are no extras.

One of the nice things about this movie is how, as in many of Michael Powell's films, the minor characters are so rich. I agree with the reviewer who mentioned how the drama moves right along, but the byplay between the criminals has the air of reality, and is time not wasted. I think the disillusion of the postwar years is poignantly present in this film, albeit in a much different way than in The Best Years of Our Lives by William Wyler. This little gem deserves to be better known. Beautiful cinematography as well.

ODD MAN OUT ~ James Mason, Robert Newton, Kathleen Ryan, and Cyril Cusack (NTSC ALL REGION IMPORT)

THEY MADE ME A FUGITIVE(1947)---Trevor Howard, Griffith Jones, Sally Gray, Rene Ray.

A British film starring Trevor Howard as Clem, an ex-RAF officer in post-war London who has fallen on hard times. He gets involved with a gang of "black marketeers", run by a vicious little thug named Narcy(Griffith Jones). When Narcy decides to add drug peddling to the gang's roster of illegal activities, Clem wants nothing to do with it. Narcy then frames Clem for the murder of a policeman. Clem is sent to prison, escapes, and the bulk of the film is taken up with his attempts to find Narcy and extract revenge. This is a fast-paced, rather "hard-hitting"(given when it was made) little film noir. There is no "pat" happy ending---Clem's fate, and future, is quite unclear by the time the final credits roll. An interesting, and worthwhile, little film---IMO. One caveat: the film is, at times, hard for an American to follow, given all the British accents and the slang/idiomatic dialogue employed. Sebastian Cabot and Peter Bull make brief appearances in the film.