Kill Me Tomorrow (1960)

Surprisingly incoherent and boring

Just perfect...

I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

'B' picture mainly interesting to me as I saw Tommy Steele's name listed first and I have tickets to see him in 2016!! Rock on. However, back to the picture. Directed by Terence Fisher and starring American gangster actor Pat O'Brien, near the end of his illustrious supporting career to stars like James Cagney. Quite how Terence Fisher went from this dud to the wonderful The Curse of Frankenstein with Peter Cushing in a matter of months is beyond me. Anyway, O'Brien plays a booze riddled newspaper man who needs a £1000 to get his son cured of an eye tumour that will almost certainly kill him if it's not fixed pronto. He gets involved with gangsters led by George Coulouris and the whole thing becomes a bit convoluted but O'Brien still somehow ends up getting the girl, played by Lois Maxwell (Moneypenny from the early Bond films) who looks young enough to be his granddaughter. Ug! gross, particularly when he tries to kiss her in the final scene and Lois appears to turn her head away. Still, it was funny seeing Tommy Steele rocking away like an idiot which is how these young stars were presented in this type of picture back then. Another reason I love watching these old films is to see the character actors and actresses, most of them long dead. Boxer Freddie Mills, Al Mulock, Robert Brown, Richard Pasco, Ronald Adam, Wensley Pithey, all familiar faces to me. Always worth a look.

This UK, homegrown, studio based movie, was not one of the best films of the period. The great American star Pat O'Brien, who often played a priest or a good guy in his roles, many opposite his real life friend James Cagney, was in life, the nice man he betrayed. On the set of Kill Me Tomorrow, he gave me his dedicated photo and wrote to my mother when he returned to the states. I doubt if movie stars of today would have the time or thought to be so nice to child actors. Lois Maxwell of Miss Moneypenny fame, was also wonderful in her role. However, the film was rather disjointed and Tommy Steel's introduction was marred by his over-long performance. The film can be rented from Amazon and the poster is now available on the Internet. Good fun if you like to see black and white London in the 1950's. Raymond Russell, boy in hospital bed.

This is one of many 1950s British B-pictures which featured an American actor in the lead role, in this case round-faced, turnip-haired Pat 'O Brien. He usually played well-meaning Irish priests or policemen but here he's somewhat unsympathetic, and unconvincing, as Bart Crosbie, a washed-up journalist going through a mid-life crisis. His wife died in a car accident (he was driving), he has a drink problem and now his estranged son (Jimmy) needs an eye operation because of a tumor.Worryingly the kid neither looks or sounds anything like his dad and has a voice so posh and squeaky it's small wonder the hospital staff didn't throttle the little brat. The hospital scenes with Jimmy are somewhat awkward and uncomfortable with O'Brien looking like he couldn't give a damn. Notice also that little Jimmy's teddy bear only has one eye which seems a bit cruel under the circumstances (or perhaps it was an in-joke). O'Brien's lack of concern is also evident the end where he and fellow journalist Jill (Louis Maxwell) are waving Jimmy off at the airport when he's traveling to Switzerland for the operation. 'Goodbye Jimmy, goodbye Jimmy my boy' O'Brien mutters unenthusiastically and repeats it in the same bored tone of voice like he can't wait to be rid of the kid so he can have his wicked way with Jill. However you get the impression from the equally unenthusiastic way Lois Maxwell turns away from O'Brien at the end when he is supposed to be kissing her, that she either couldn't stand him or he had really bad halitosis.There are many more equally ludicrous and unintentionally funny moments in this film which you musn't miss: When Jill (Louis Maxwell) drives up to Scotland Yard to give evidence she not only narrowly misses running over a pedestrian but she also does what is possibly the worst bit of parking ever seen on screen, and this was outside England's Police Headquarters! The cafe scenes with Tommy Steele performing the song rock 'n' roll song Rebel Rock are wonderfully naff as well. Some of the lyrics are not words but Tommy making a lot of strange noises like he's having a seizure, which is a bit disconcerting. And he seems to perform the song over and over again like a human jukebox. Perhaps the producers could only afford to commission the one song and got maximum use from it. Also watch out for the cafe owner (and gangster) George Coulouris and his heavies and the way hang around the joint looking furtive and menacing. Surely anyone would have guessed that they were up to no good. Lastly you have to question the way the doctor (Richard Pasco at his most zombie-like) works out that Jimmy's operation will cost exactly £1,000 and that he needs payment in cash the next day. Surely private medicine doesn't work that way? You get the impression that the whole operation thing was a scam and that half way across the English Channel the doc was going to shove little Jimmy out of the plane and head off to sunnier climbs with the nurse, keeping the grand for himself. Surely that's a better plot that the one they actually used and at least the title would make sense. Watch it at your peril...

A washed up reporter called Bart Crosbie (Pat O' Brien) blackmails gang boss Heinz Webber (George Colouris) for the money to pay for his son to have a life saving operation. In return he agrees to turn himself in for the murder of his editor, whom the gang killed in order to prevent an incriminating story being printed about them.Typical poverty-row b-pic of the time directed for far more than it's worth by Terence Fisher, who within months of making this would become one of the leading British horror film directors at the Hammer studio. The script is far-fetched and teen idol Tommy Steele (guitar in hand) was drafted in to sing a poor rock and roll number called "The Rebel" at a coffee bar that acts as a legitimate front for the gang's activities.