The Last Page (1952)
Directed by Terence Fisher

Film Review

Director Terence Fisher began his long and fruitful association with Hammer Films, not with the genre he is now best known for, namely Gothic horror, but with a series of low budget crime films that were heavily influenced by, if not a direct imitation of, American film noir.  The Last Page may not be classic Fisher material but the director brings to it his customary deft touch, employing interesting camera angles, voyeuristic tracking shots and moody lighting to add substance to what is really just a third rate murder mystery.  Inspired by a play by the popular crime writer James Hadley Chase, whose works have frequently been adapted for cinema, this first Fisher offering for Hammer has one massive asset, in the shape of the implausibly curvaceous Diana Dors, British cinema's answer to all those busty American blondes of the 50s and 60s.

The film implies in its opening credits that this was Diana Dors' first feature.  In fact, the actress had already appeared in around fifteen films since her screen debut five years previously.  Now barely twenty, and heavily promoted as a blonde bombshell to all and sundry by her husband Dennis Hamilton, Dors had blossomed into the biggest sex siren on the British cinema screen, but rarely was she given the opportunity to prove herself as an actress.  The Last Page is one of the few films in her career where she was allowed both to flaunt her unrivalled sex appeal and turn in a perfectly judged character portrayal.  Hers is by far by the most complex and interesting character in the film, and her nuanced portrayal of the easily manipulated teenager Ruby would not be out of place in a serious social realist drama.  When her character is killed off it is as if someone has suddenly turned out the lights.  Thereafter the film becomes dull and predictable, just a routine crime drama.

Billed above Diana Dors are the film's two American stars George Brent and Marguerite Chapman, whose own contributions pale into insignificance by comparison.  Although he was once a major star in Hollywood, Brent had, by this stage in his career, become the proverbial 'has been' and his leaden performance, which is only aggravated by Chapman's unbearably wooden acting, weighs down the whole production.  Fortunately, the British contingent of the cast - in particular Peter Reynolds, Raymond Huntley, Eleanor Summerfield and the aforementioned Miss Dors - just about make up for this deficiency, with some colourful but convincing character portrayals.

The Last Page (released in the United States as Man Bait) was the first film to be made under a four-year contract between Hammer and the American distributor Lippert Pictures.  For Hammer, it was a Heaven-sent opportunity to break into the American market with films that had a ready audience; for Lippert, it was a way of increasing its presence in the more tightly regulated British market.  As part of the deal, Lippert would supply Hammer with big name American actors, most of whom were well past their best.  In some films, this arrangement worked out well (Stolen Face showcased Paul Henreid and Lizabeth Scott at their absolute best); in others it was less so.  Whilst The Last Page has some obvious shortcomings on both the acting and scripting fronts it is among the most compelling and enjoyable of Hammer's crime films, and much of the credit for this should go its new boy, Terence Fisher, whose directorial flair would prove, over the next decade or two, to be the biggest asset the company had.  For Hammer, with Fisher on board, fangs could only get better.

Film Synopsis

John Harman is the manager of a London bookshop.  After his insurance policy matures he plans to spend his three hundred pound windfall on a holiday in exotic climes with his invalid wife.  His plans are derailed when one of his employees, an attractive 19-year-old named Ruby, falls under the influence of a small-time crook, Jeff Hart.  Hearing that Harman kissed Ruby when they were working late one evening Hart sees an easy opportunity for blackmail.  Under her new boyfriend's influence, Ruby tells Harman that she will write a letter revealing his indiscretion to his wife unless he gives her a hundred pounds.  Harman has just learned that his wife died whilst trying to destroy an anonymous letter and is no mood for games.  He gives Ruby his three hundred pounds, but when she hands Hart his share of the booty he attacks and strangles her.  When Ruby's body is later discovered, in a crate intended for a church bazaar, Harman is the obvious murder suspect...