NOWHERE TO GO
(M..G.M.-Ealing) G Cert. |. WOULD hate to put anyone off a fine thriller by starting off with a lot of solemn talk about significance, but having said that Nowhere to Go is a fine thriller I want to remark that in its eventual concern with personal loyalty it reminded me a bit of Tiger Bay. This, it seems to me, adds a dimension to a film which already has many meritsso much so that with time running quickly on towards a deadline I found myself not writing this review but reading again E. M. Forster’s defence of personal loyalty. "Love and loyalty to an individual can run counter to the claims of the state. When they do-down with the state, say I..." And I.--Nowhere. to Go starts. with a fine, tense, atmosphefic escape from, prison, flashes’ back to the crime which put the escapee, Paul Gregory, away for 10 years, then tells what he did with his precarious freedom. Greg isn’t the same sympathetic character as the young Pole in Tiger Bay, and I wouldn't like to stretch the comparison too far, But after looking on .in that flashback at every detail of jhis rather despicable crime, Ir found it interesting to watch my atti-. tude towards him change as he found out where he stood with his accomplice Sloane, sought help here and there, and
realised that he had "nowhere to go." It wouldn’t be fair to tell what happened when in desperation he rang the girl — a bit of weakness for helping lame ucks. This is the first film of a new director, Seth Holt, who also wrote the script in association with the brilliant young dramatic critic Kenneth Tynan. The original material was a novel by Donald MacKenzie. With a good cast which includes George Nadér as Greg, Bernard Lee as Sloane and Maggie Smith as the girl, itis always absorbing and its people and situations are believable and realwhich, I think, are the first things one should be able to say of any film. But this one has also-a rare merit nowadays -a script which recognises that even intelligent dialogue should be used with economy if you’ve a story that director, photographer (Paul Beeson) and players know how to tell in cinematic terms. Some wonderfully | effective silent sequences give this.film a quite distinctive flavour, and there’s alsd, where necessary, a good jazzy score by Dizzy Reece. *
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https://paperspast.natlib.govt.nz/periodicals/NZLIST19591106.2.33.1.1
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New Zealand Listener, Volume 41, Issue 1054, 6 November 1959, Page 20
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402NOWHERE TO GO New Zealand Listener, Volume 41, Issue 1054, 6 November 1959, Page 20
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Copyright in the work University Entrance by Janet Frame (credited as J.F., 22 March 1946, page 18), is owned by the Janet Frame Literary Trust. The National Library has been granted permission to digitise this article and make it available online as part of this digitised version of the New Zealand Listener. You can search, browse, and print this article for research and personal study only. Permission must be obtained from the Janet Frame Literary Trust for any other use.
Copyright in the Denis Glover serial Hot Water Sailor published in 1959 is owned by Pia Glover. The National Library has been granted permission to digitise this serial and make it available online as part of this digitised version of the Listener. You can search, browse, and print this serial for research and personal study only. Permission must be obtained from Pia Glover for any other use.
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