User Reviews

Another British b-movie from poverty row specialists Butcher's Films. This one is based on a Laurence Meynell novel of the same name. Peter Reynolds plays Eric Winlatter, the shady nephew of a printer and engraver who gets involved with foreign spies who plan to flood an obscure far eastern state called Lalvador, which is sympathetic to western desires, with fake currency in order to bankrupt its economy. The country would then be forced to come to the nation behind the scheme for assistance thus forcing them behind the iron curtain. The plot is not credible thanks to some variable performances and a poor script and director Lance Comfort who churned out a number of these minimal quota-quickies throughout his career fails to generate much in the way of suspense, which he did so well with Tomorrow At Ten one of his more distinguished efforts in this field. Nevertheless, there are more tedious ways to pass an hour or two as it is pacy. But its main point of interest is that the supporting cast includes Joanna Dunham who would later star alongside Barry Foster in the popular 1970's TV series Van Der Valk.

THE BREAKING POINT (aka) THE GREAT ARMORED CAR SWINDLE 1964

This is a low end crime film with a hint of noir in play. Peter Reynolds plays the lead with support from Dermot Walsh, Joanna Dunham and Peter de Savory.

Reynolds is an executive at a high end printing company. The company is owned by his uncle, Jack Allen. Allen is rather tight with the cash while Reynolds is anything but. He is behind on his car payments and he has 30 days to come up with 600 pounds, or lose the vehicle.

The company is hired by a middle-eastern country to print up several million in new bank notes. The country, Lalvadore, is a small republic close to the Iron Curtain. The country has uncovered a plot by the Reds to swamp Lalvadore with fake currency. Then they would move in during the crash all the fake money would cause. The country wants to beat the Reds to the punch. They want to print up new currency in order to foil the counterfeit plot.

Reynolds is approached by a member of the Lalvadore embassy. He offers cash to Reynolds for some info on his government's deal. Of course the man, Peter de Savory, is really a Red spy. They want to stop the Lalvadore Government's plan.

Needless to say, Reynolds, not the swiftest horse in the race, is soon in the employ of de Savory. He tries to get all the required info from his uncle, Allen. Allen though is as tight with information as he is with a buck. Reynolds is soon doing a spot of break and enter at the printing plant. He takes photos of the new currency plates etc.

There is a somewhat silly side plot with Reynold's wife, Joanna Dunham having a fling with writer, Dermott Walsh. Walsh is doing a piece on the printing company.

Anyways, the story now has Reynolds knee deep in planning to steal the new cash. The Reds plan on doing the deed, when the money is moved to the airport for transport to Lalvadore. Soon there are fake Policemen and Police cars etc involved. The plot is however foiled and Reynolds gets himself killed at the end.

This one is not one of director Lance Comfort's better efforts. The normally competent Comfort is defeated by a rather silly story and low production values. One of the few points in the film's favor is, that at only 58 minutes, it does move right along. Comfort did much better work on, BLIND CORNER, PIT OF DARKNESS, DAUGHTER OF DARKNESS and SILENT DUST.

Forget the plot preposterousness other critics have noted - the heist scenario depicted here would probably have been more than feasible given the level of security available in1961 when this film was made and set - revel instead in the glory of the best straight line ever delivered: when Peter de Savory invites Eric Winlatter to the 144 Club it must be obvious to everyone except the two actors that the punchline should be: "It's gross!" The film features the underrated Arnold Diamond - literally a treasure of the acting community with roles including a paedophile (Maniac, 1962) and a stooge in numerous Morecambe and Wise shows. However - this film's delightfulness is mostly obtained from its wonderful location work - anyone who's been to Gatwick Airport in the last 20 years will know it's essentially a nazi marshalling yard where "customers" are herded like cattle and 15 minutes in a short stay car park costs £7. Witness here when Gatwick had not long been developed from a race course into what would become the UK's second largest airport. This film was made when you could exit the A23 just south of Horley in your Jag Mk 10 onto the tarmac alongside your awaiting prop driven airliner; have your driver open the door to let your mink coated babe alight while you cemented yet another lucrative deal with a shady middle Eastern diplomat and leave the country with a suitcase full of £10 notes; and where passport control was a very civil civil servant in a peaked cap saying: "Yes sir - that all appears to be in order - enjoy your trip" after a cursory glance at your ten year old passport. All told - this should have won the Oscar for best picture of 1961 - with Breakfast At Tiffanys a very close second.