The Good Die Young (1954)

Directed by Lewis Gilbert; produced by Jack Clayton (associate producer)

Four men in London are each facing a crisis in his life: Joe (Richard Basehart) needs to take his pregnant wife away from her manipulative mother; Eddie (John Ireland) is trying to hold on to his unfaithful spouse; Mike (Stanley Baker) is at the end of a boxing career and needs money to start a new life. They fall in with the conniving and dangerous Rave (Laurence Harvey), who proposes a simple solution to their problems - the theft of £90,000 from a post office.

This is a heist movie with a difference, and whether that difference makes or breaks the movie will probably depend on the type of viewer, and what he prefers in his films. There is, in fact, little of the heist in The Good Die Young. What there is, is exciting and tense. Nonetheless, the story focuses on the four men, and why they become involved in crime, when three, at least, have never committed an unlawful act in their lives.

The story is by far the weakest part of the movie. One of its faults lies in providing too little motive for some to become involved in the robbery. Eddie, in particular, is plagued by his love for a wife who has no respect for him, and dislikes him. Why he would think that money would solve his problem, when a simple divorce would suffice, we are not told. He doesn’t seem to have any fondness for wealth or luxury, and has a thriving career in the U.S. Air Force. Joe, too, though he needs some fast cash, has no desire for a share of £90,000; just enough for him and his wife (Joan Collins) to fly to New York from London would do.

More specific than general motive is the question of why three law-abiding men would follow into crime someone whom they casually met at a pub. And the robbery itself appears poorly considered; if everything goes smoothly, then there would be no problem. But when do movie heists go smoothly? There is also the inconsistency of Mike’s wife, who won’t help her worthless brother at one point, but will at another, more critical juncture.

The acting, on the other hand, is very good. Ireland gets to play a sympathetic role, different from most of his later parts. Harvey is suitably despicable as an amoral, villainous man who is probably psychopathic. He is so bad, in fact, that it’s hard to imagine anyone trusting him even in the slightest. Robert Morley has a good small part as Rave’s father, a decent man who knows exactly what his son is, and probably what his son always was. The last shot of the father watching Rave leave their club is telling: a stone face expressing so much. Gloria Grahame is less of a benefit to the movie, as her English accent still sounds American.

The direction is very good. Gilbert was behind the camera for a diverse number of successes, such as Sink the Bismarck!, Alfie and Educating Rita. Here, his work complements the acting, as he makes the most of the emotional scenes and creates a suspenseful climax.

The Good Die Young is a crime film so much more interested in the criminals than their deed that it actually fades to another scene when the gang discuss their plan. But if one likes a character study of desperate men, then this film will entertain and, in the last twenty minutes, even thrill.