User Reviews

This is one of those tight, moody British crime thrillers of the 50s, one which just about lives up to its great title. Despite being set in a rural/suburban setting, the proceedings are imbued with the post-war brutality and seediness common to the genre, not to mention plenty of misogyny and xenophobia.

The plot keeps moving and the atmospheric and psychological details are piled up at an equal pace, making this compelling viewing. Perhaps most telling is that the cultivated British middle class citizen proves far nastier than the "greasy" foreign criminals. The ending is a bit abrupt (possibly due to censorship or a cut TV print), but otherwise it plays all the angles perfectly. Marc Lawrence seems to have had a knack for finding neat little productions like this in which to participate.

If you like this one, try "Man in the Back Seat", too.

Kill Her Gently is a sub Hitchcockian British B thriller starring American Marc Lawrence who had escaped to Europe after being blacklisted for his political views in the 1950s.

Two convicts break out of prison. Connors is an American and Svenson is a Swede. While on the run they are picked up by a motorist, Martin who realises who they are but helps them pass a police road block. Martin makes the a proposition to the fugitive. He will help them leave the country if in return they will kill his wife.

It looks like Martin is more deranged than the convicts who has suffered a mental breakdown for which his wife had him sectioned and who also thinks she might be having an affair.

Most of the film is set in the couple's home as Martin initially comes across as a victim with his wife. However the convicts become reluctant carrying out his task especially Svenson.

This is a tight, short thriller but with a very rushed ending. Marc Lawrence impresses as a tough guy with a looming conscious. Griffith Jones is also memorable as the conniving, cunning and desperate husband who wants to punish his wife for having him incarcerated.

The makers of this film clearly wanted to cast this film so that they could get distribution both in America and Europe.What else can explain the the strange casting of the convicts.Nevertheless this is quite a reasonable British film noir,with plenty of bodies scattered around.Though you have to get through one major implausibility.The police blockade not looking to see the 2 passengers in the car with Griffiths Jones.Jones depiction of his growing insanity seems to depend on him being lathered in sweat and his eyes becoming rather more prominent.One would have thought that his rather strange behaviour would have given a clue to people.As usual the police only get there in the end to mop up the pieces.

"Martin" (Griffith Jones) is driving home one evening when he picks up two hikers. Once in his car, he realises that they are those wanted by police having just escaped from prison. They don't know he knows, and so are rather taken aback by his proposal. He will give them money and a path out of the country - if they agree to murder his wife "Kay" (Maureen Connell). The more brutal of the two - "Connors" (Marc Lawrence) readily agrees and his sidekick "Sven" (George Mikell) is soon on board as they arrive at his home where he concocts a plan to get their money whilst they do the deed. Of course, things don't quite go to plan - the police are looking for the escapees and his wife isn't quite the shrinking violet type. Is she toast or will they manage to get away with it? The premiss is quite interesting by virtue of the supposed spontaneity of the plan. Sadly, though, once they are all housebound the plot starts to unravel and there is just a bit too much hysteria as "Connors" decides killing is not the only crime he wants to get up to. The last ten minutes do have a certain vindication to them, but by then the thing had largely run out of steam. Though I did quite enjoy this, the narrative could have been better focussed around a cast of competent B-listers who do their jobs adequately in a feature that had more potential.

Two escaping convicts hitch a ride with someone who may be more disturbed than either of them. Griffith Jones is well cast as a cool, mannered and devious husband with emotional baggage to spare with Maureen Connell as his well-meaning and unfortunate spouse.

As one previous reviewer has noted, this is quite a brutal film in its sometimes violent treatment of both male and female characters. The film quality as seen on the estimable TPTV was far from perfect but didn't detract from the pace of the narrative. Although the casting of an American and a European as the escapees was obviously intended to attract a wider global audience, the latter role (George Mikel) was underwritten; the plaudits for the film mainly go to Marc Lawrence, who I had only really previously known in his roles in Diamonds Are Forever ("I didn't know that there was a pool down there "), and The Man with the Golden Gun.

I guess the only reason this movie is not a well-beloved classic is that it was not made in Hollywood, is filmed in black-and-white, came from a minor studio and is full of unknowns. I also don't understand why so many people who watched its TCM debut rated it so low. It is definitely the best movie I saw during their entire "detectives" month.

The film starts out with Connors, an American, and Svenson, a Swede, escaping from prison. They are picked up hitchhiking by Jeff Martin. They become suspicious, though, when Martin gets them through a police roadblock, covering for them by claiming they are some friends of his that he has brought back from London to the rural area where the story transpires.

It turns out Martin has plans for them. He makes a bargain with them to help them flee the country if they will assist him in his scheme. Otherwise, he will turn them in. They have little choice, and agree to go along with his plan before they even know what it is.

But everything goes wrong with Martin's plan from the start. Bad breaks follow unfortunate coincidences in one unexpected plot twist after another, starting from the moment they get back to Martin's house and running all the way down to the penultimate scene.

Eventually it comes out that Martin has a past, and when the escaped cons discover it, this creates another rift in the deteriorating trio.

Both of the "bad guys" are really not so bad. Svenson especially is quite human, a rather sympathetic character. Of course, in spite of their increasing lack of enthusiasm for Martin's plan, the two of them have lived by the sword, and so are liable for the consequences. But each of them manages to achieve a small measure of redemption.

Nothing is wasted in this movie. The plot unfolds with mounting tension at a rapid pace. Every moment in this rather short film is calculated, crafted, a necessary piece in the tension that is developed by a skillful combination of plot and direction. Hitchcock rarely did it better, and often did it worse.

Even the final scene keeps in character with the movie, and does not fall into the mawkishness which would have been so easy, but rather ends up on a rather dark and somewhat ambiguous note.

The building tension in this movie achieves what few movies ever have been able to do to me ("Lady In A Cage," "Dial M For Murder" and "Midnight Lace" spring to mind), keeping me riveted to the screen, and almost uncomfortable, squirming in my chair as I wait for the inevitable, which, in the greatest Hitchockian manner, does not come, but is whipped away by a surprising plot twist.

Excellent suspense! Masterfully executed!

Thus was it described by Chibnall & McFarlane in 'The British 'B' Film' in 2009. The evidently tiny budget actually enhances this raw little hostage drama which begins like Edgar Ulmer's 'Detour' (1945) with Griffith Jones giving a lift to two desperadoes. Not surprisingly the film was released only after delays and cuts.

One of the hitch-hikers is played by one of Hollywood's meanest-looking heavies ever, the ferrity-faced Marc Lawrence; who back in America himself later directed the similar 'Nightmare in the Sun'.

"Kill her gently" is another brilliant example of B toughness in british 1950's cinema. And I do not know any other movie by the director Charles Saunders who directs energically this psycho hostage story in the main setting of a house. Marc Lawrence is a powerful threatening badman, Griffith Jones is the husband taken in hostage with his beautiful wife Maureen Connell threatened by Marc Lawrence but always resisting (what a performance), and Marianne Brauns is another Marc Lawrence's victim. And virtuoso shootings in the main violent scenes. Don't grip on the few mistakes in the story.

They are bank-robbers having got away with some accidental murders on the way, and there will be more. A well-to-do man picks them up as hitch-hikers, well aware they are the wanted bank-robbers, and he brings them home and promises them everything including a safe escape and lots of money, if they only relieve him of his wife. The wife is lovely and charming, so how would anyone want to do away with such an ideal wife? Naturally, she will have all the audience sympathies, but don't worry - she will almost be the only one to survive, her lovely home being littered with casualties like at the end of a Shakespeare drama. There are many intrigues here all joining up in a mess of complications, the characters all try to find their way out of the developing dreadful death trap, and they all fail most miserably, getting shot down, having accidents, losing their minds or what is worse. It's a splendid concoction of a most wonderful bouillabaisse of intrigues and failed purposes, and as an audience you will find yourself lucky if you survive it.