Michael Balfour Movies

In this action-filled crime drama, a young woman goes out to bring the criminals who robbed and murdered her father, a jeweler, by posing as a crook herself and infiltrating their gang. ~ Sandra Brennan, Rovi

In this British mystery a private eye must prove that a millionaire was murdered by his fiancee, a beautiful model who discovers that she was slated to inherit his fortune after he died. ~ Sandra Brennan, Rovi

Guy Rolfe is top-billed in the British Prelude to Fame, but the critics' attention was directed at young newcomer Jeremy Spencer. This is the story of a poverty-stricken boy named Guido (Spencer) who turns out to be a musical prodigy. Prodded into fame by a wealthy, childless patroness of the arts (Kathleen Ryan), Guido rises to the uppermost rungs of the musical world -- and loses his childhood in the process. Star Rolfe is cast as John Morrell, the philosophy professor who discovers Guido's genius, only to regret what happens to the boy afterward. Best scene: Jeremy Spencer leading the London Philharmonic without adult assistance. Released in America by Universal-International, Prelude to Fame is based on a story by Aldous Huxley. ~ Hal Erickson, Rovi

The British Don't Ever Leave Me stars "cute" Jimmy Hanley as a would-be criminal who is dragooned into a kidnapping plot. Among the potential victims is teenaged Sheila Farlane (Petula Clark), the daughter of Shakespearean actor Michael Farlane (Hugh Sinclair). When the plan goes awry, Sheila and her friends decide that they're having fun being kidnapped and refuse to go home! Featured in the cast is a young Anthony Newley, who'd recently gained fame as the Artful Dodger in Oliver Twist. Don't Ever Leave Me is hardly memorable, though it managed to get plenty of American TV airplay in the 1950s and 1960s. ~ Hal Erickson, Rovi

When a dim-witted detective poses as a waiter, he manages to locate a gang of criminals at a nightclub. ~ Rovi

James Hadley Chase's 1939 bestseller reached the screen for the first time -- which a lot of critics of the book would have said was one time too many -- in 1948, in somewhat bowdlerized form, under the aegis of Renown Pictures and screenwriter St. John Legh Clowes, making his sole bow as director. Filmed in England but set in New York, No Orchids For Miss Blandish tells of a sheltered heiress (Linden Travers) who is abducted on her wedding night by a trio of cheap hoods, in what starts out as a jewel robbery and turns into a kidnapping/murder when one of them (Richard Nielson) kills the bridegroom. More mayhem ensues as the three kidnappers soon end up dead, and Miss Blandish falls into the hands of the Grisson mob, led by Slim Grisson (Jack LaRue), who are pros at what they do, throwing their weight around the underworld at will and not too afraid of the police, either. Slim Grisson isn't really better than any of those around him, but he's smart enough to restrain his worst impulses, which makes him start to look very good to Miss Blandish, who finds herself strangely attracted to him, as the first real man she's ever seen, and also a way out of the sheltered existence she's known all of her life. He's as amazed as anyone around him -- including his own mother (Lili Molnar), who runs the gang in tandem with him -- that he doesn't want to ransom Miss Blandish, or plan on killing her because she knows too much; or that she'll testify on his behalf, if necessary, that the one killing she did see by him was, in fact, a matter of self-defense. They plan to run off together, but neither Grisson's mother nor the rest of the gang can see parting with a potential million dollar ransom, or leaving a witness alive -- even if it means killing Slim Grisson to get to her. And when a nosy reporter named Fenner (Hugh McDermott) starts putting the police on the trail of the gang, Slim himself isn't above committing a few more murders to bury any witnesses. The movie was so violent and amoral, that it appalled critics and social observers on both sides of the Atlantic, whose agonizing over its content actually helped turn the picture into a bigger hit than it might otherwise have been. This was especially true in America, where the movie enjoyed a five week run in one of New York's bigger movie palaces to sell-out business, though it was edited considerably and re-cut twice for US release (the second time, a couple of years later, as Black Dice). Robert Aldrich filmed the same story as The Grissom Gang (1971), with Kim Darby, Scott Wilson, and Irene Dailey. ~ Bruce Eder, Rovi

The popular "William" novels of British author Richmal Crompton were brought to the screen several times in 1930s and 1940s. William Goes to Town one of the better efforts in this off-and-on series. Young William Graham plays the eponymous wise-mouthed little schoolboy who causes all sorts of havoc during a trip to London. He even tries to crash the Prime Minister's headquarters to offer him financial advice! A subplot involving a circus keeps the film on an amiable kiddie-matinee level. ~ Hal Erickson, Rovi

Sleeping Car to Trieste is a remake of one of the best railroad melodramas of the 1930s, Rome Express. The film's "maguffin" is a diary containing important political information. Stolen from a diplomat in Paris, the diary finds its way on board the Orient Express. Already, the two thieves have double-crossed each other, and among the passengers there are plenty of interested parties-heroes and villains alike-who hope to claim the diary for their own purposes. When one of these parties is murdered, police chief Jolif (Paul Dupuis) takes charge of the case, but there's still many a plot twist to come before the guilty are punished and the innocent rewarded. An inordinate amount of footage is devoted to the wisecrackery of Bonar Colleano, cast as yet another stereotyped American. The climax of Sleeping Car to Trieste is a classic, endlessly imitated by future-and lesser-Orient Express espionagers. ~ Hal Erickson, Rovi