The Vicious Circle (1957)

Directed by Gerald Thomas; produced by Peter Rogers

Howard Latimer (John Mills) is a successful London surgeon with a thriving practice and a satisfying relationship with his fiancée (Noelle Middleton). After a consultation with a seemingly delusional patient (Rène Ray), Latimer discovers the corpse of another woman in his flat - killed in a manner connected to the patient. Now, the doctor finds himself involved in a plot the purpose of which he cannot fathom, pursued by the police, menaced by a blackmailer, and followed by a mysterious and all-knowing stranger.

The ‘framed man’ sub-genre of film noir is a good one, and can include excellent films. But much depends on the suspense the direction and the writing may generate. The Vicious Circle does an adequate job of providing entertainment, but there is no suspense created in the film.

The problem is mostly centred about the writing. Though the script is by prolific and popular British crime writer Francis Durbridge, it is not an exciting story. It is well thought-out, and there are some good characters, but the viewer never really believes that Latimer is in danger. One cause of this is that the police detective investigating the case, Inspector Dane (Roland Culver), implies early on that he doesn’t believe Latimer is guilty of anything; soon after that, he explicitly states it. While I actually like stories in which the police are one step ahead of where the audience - and the characters - think they are, Dane’s admission makes for a plot that is almost too easy-going.

As well, there is the inclusion of a mystery man named Robert Brady, played by Wilfred Hyde-White in his typically droll, dry and amusing style. Despite his menacing initial encounter with Latimer, the viewer will too soon guess his purpose - or at least his interest - and what he is all about. The omniscience of the police in the movie makes one wonder why everyone had to go through the plot at all.

The direction is decent, though, like the writing, it doesn’t lend any urgency to the story. The most tense scene is at the beginning, over the opening credits, as we precede a car through the streets of London to its destination. Unfortunately, the worrying tone and anxious music are preludes to nothing more than a rather casual visit to a doctor’s office.

The actors do a fine job. Mills always succeeds as the everyman, just as he can be something more extraordinary. Here, though, he is not as sympathetic as he might be. There is something curt to his manner that permits the audience, while wishing him out of his predicament, to view him from a distance, without involving themselves in his plight.

A lack of excitement and suspense, a surprisingly bland main character (considering the actor playing him) and a certain predictability to the story, make The Vicious Circle a lesser entry in what one might call ‘the fugitive’ category of crime movie.