The Last Page (1952)

The Last Page (AKA: Man Bait) is directed by Terence Fisher and adapted to screenplay by Frederick Knott from James Hadley Chase's story. It stars George Brent, Marguerite Chapman, Raymond Huntley, Peter Reynolds and Diana Dors. Music is by Frank Spencer and cinematography by Walter J. Harvey.John Harman (Brent) is a London bookshop manager who finds himself blackmailed by his busty young assistant, Ruby Bruce (Dors), and her new ex-convict beau Jeffrey Hart (Reynolds), when he foolishly steals in for a kiss during after hours stock taking.Bookshop Noir.British Hammer and American Exclusive teamed up to produce a number of low budget crime dramas in the early 1950s, often using American stars and directors blended in with British actors, they were produced in Britain in next to no time. The Last Page is a safe viewing for the undemanding film noir fan. Terence Fisher would become a legend amongst British horror fans (rightly so) for his work on Hammer's reinvention of the Universal Creature Features. Here he crafts a nifty atmospheric melodrama without fuss or filler, while just about managing to stop the flaws and daftness of plotting from sinking the picture.Story has some interesting noirish characters and themes. The man who begins to pay for a moment of weakness, the young shapely gal in over her head-lured to the dark half by a well spoken criminal element, while some secret passions amongst the staff of this particular bookstore come to the fore once things inevitably go pear shaped. The setting is a doozy as well, this bookstore is perfectly antiquated, so much so you can smell the leather bound novels nestling on the shelves. Walter Harvey's (The Quatermass Experiment) photography ensures that shadows feature throughout, and there's the odd macabre touch that befits the writing of Frederick Knott (Dial M for Murder/Wait Until Dark).Cast are professional to the last. Brent (The Spiral Staircase) and Huntley (I See a Dark Stranger/Night Train to Munich) are the epitome of gentlemen in a rut, stoic and stiff, grumpy yet gritty, but nicely portraying men we expect to appear in a bookstore noir. Chapman (Coroner Creek) has an abundance of hard looking sexuality and Reynolds has a spiv nastiness about him, very cold but charming. But it's Dors who holds all the aces, she would impress herself upon many a red blooded male during three decades of British film and TV. Here at aged 21, as Ruby, she's a curvy blonde babe with full lips, a gal who understandably turns the heads. The character is tardy as well, hardly a crime, but mostly in Dors' hands she's believable as a girl clearly out of her depth, she's not a femme fatale, she's a weak willed person hurtling towards film noir doom. It's here where this British B noir gets its worth.It's not a great film by any stretch of the imagination, but it is a good one considering the modest budget afforded it. There's dumb decisions made by characters, holes of plotting and the ending fails to seal the deal after the hard noirish mood eked out by Fisher, Harvey and Dors. However, as film noir time fillers go, it's well worth checking out. 6.5/10

This was the first time I had ever heard of Diana Dors (don't blame me, I'm from the USA and under the age of 40) - but I immediately fell in love with her. The plot centers around a bookstore where Dors' character, Ruby, works. She is the "bad girl" of the office, arriving late and hitting on her boss, played by George Brent. But that's nothing compared to the trouble she gets herself into after going on a date with a man she catches trying to steal a valuable book from the store! He (very easily) convinces her to blackmail her boss and things really go downhill from there. I won't give away more of the plot, because the unexpected twists and turns it takes are half the fun of this film - the other half is provided courtesy of the excellent British character actors who make up the cast. No part is too small to make you notice them! This film noir was directed by the great Terence Fisher for Hammer Films - who together would go on to unleash a slew of excellent Gothic horror films in the 1950's and 60's. A young, brunette Diana Dors easily walks away with the picture harnessing a killer combination of alluring presence and a very natural acting ability.

Plot hole #1--The film begins and a customer in a used book store is caught by an employee stealing. What LOGICALLY does she do in this situation? Yep, she lets him go and then meets him later for drinks!Plot hole #2--Soon after they meet, although it's OBVIOUS he's a no-good ex-con, she agrees to a blackmailing scheme with him.Plot hole #3--When the blackmail of her boss is attempted by this female employee, the boss being blackmailed threatens to call the police--but doesn't bother to fire the girl nor does he call the cops.Plot hole #4--When the blackmail is refused, the thief from #1 sends a letter to the boss' wife and she dies as a result. So, does boss fire the lady or call the police now--NOPE! Plot hole #5--When the lady AGAIN comes to the boss to blackmail him (AFTER the wife is dead), he angrily throws a huge wad of cash at the blackmailing lady--even MORE than she had asked for with the blackmailing attempt! Plot hole #6--At no point does the boss tell anyone about the blackmail, so when something happens to the blackmailing employee, the boss is an obvious suspect. If he'd only gone to the police or fired her or talked about this problem all this might have been avoided.Plot hole #7--Although every bit of evidence points to the boss being a murderer, a trusted female employee (not the dead blackmailer) agrees to help him avoid the police and investigate the crime with him. What a cliché! In real life, even if you think the boss is innocent, when an employee knows he's a wanted man they'll call the police.Plot hole #8--The other female employee blunders into the killer's lair in a completely hair-brained way--and with no plan at all, nor did she have backup or tell anyone she was confronting him.With all these major problems with the script, there simply was no way that veteran director Fisher or veteran actors George Brent and Marguerite Chapman could pull this one off! The bottom line is that if anyone had bothered to read the script first, they would have no doubt spotted all these holes and probably many more. I wonder if perhaps a chimp was the writer of this film?! As a result, it's frustrating to see a group of accomplished film makers stuck with second-rate tripe--especially Brent who was a very fine actor and did his best with this mess.

...First thing he does is go to a bookstore. He tries to steal a book. That is how logical this movie is throughout. When we see shelves of books at a time, later, the books seem to be attached to each other. They're like room decorations some people buy in bulk.The proprietor of this bookstore is, of all people, George Brent. He had a long career. Though this is a noir of sorts and I therefore can't give it a bad rating, let's just say this is hardly a career highlight for him.Marguerite Chapman is attractive and convincing as his employee. She's stylish and pretty and comes off as nice.This is an early Diana Dors film. She's decent in it. She gets pulled into some very bad behavior. But she's not a truly terrible character. She's chronically late to work and weak willed.This isn't a memorable or distinguished film. But it isn't terrible, either. Nor does it hold to any formula. It's mediocre in a unique way.