I'll Get You

This is a simple and straightforward tale of a man who goes undercover to expose a kidnapping ring that is abducting atomic scientists. It is very much a product of its Cold War context. It is also moderately entertaining and engaging; it certainly kept my interest to the end.But, whether or not it is actually a film noir is debatable. It has none of the fate and irony of a true noir. The cinematography is fairly flat and pedestrian. There are no huge surprises, and no grim, gritty, and darkly violent sequences. And there is no femme fatale!This, to my mind, makes this film much more of an espionage thriller, but it suffers from an extremely low budget and a limited cast. It definitely is not "loaded with searing screaming suspense". But the narrative itself has some compelling elements, and it is simply amazing to see London shortly after World War II. I had no real idea how widespread the destruction -- from all the bombs and incendiaries of the Blitz -- truly was.As is usually the case, George Raft does a solid job of acting here. He puts sincere effort into it -- but some of the fist-fight stunts are pretty weak and unconvincing. But you still can't go very much wrong with a plot where Raft [spoiler alert] is actually an FBI agent pretending to be a defecting engineer. And his female British counterpart, played by Sally Gray, is exciting and simply great to look at; she has those classically lovely and feminine British features.I was also very pleasantly surprised to see Torin Thatcher as the insidious villain. I've always remembered him fondly from my youth, when he played Sokura the Magician in The Seventh Voyage Of Sinbad.This is a decent spy yarn, from 1952, when the Cold War was still heating up. It's not the greatest film you will ever see. Not by a long shot. But it is still a fun and stimulating piece of cinema history, as well as a reasonably exciting suspense feature, with some wonderful post-war location atmosphere and grit.(Also, kudos to VCI for again providing optional English subtitles to help compensate for a vintage soundtrack.)

This DVD arrived on time, just as described and well packaged

the movie was in good condition but somewhat boring.

Perfect gift for kids, i love russian cartoons, my nephew really enjoy it, my only wish russian store have more titles of russian cartoons.

I have been running the rack on the old black and white film noir genre the past several years mainly grabbing stuff from the Netflix archives (“running the rack” a term learned in my pool hall days when I hung around with corner boys who hung around pool halls although I was never much of a player, mainly a hanger-on and bettor, a bettor against a guy like Red Radley who lost me more money than I could shake a stick at-not realizing until much later that Red was cheating, was threating murder and mayhem against whoever he was playing against and he was big enough to enforce his edicts). At this point since I have been pretty steady in my attempts to see plenty of them I have moved down, or been forced by Hollywood’s tastes to move down, the A classics like The Postman Always Rings Twice, The Big Sleep, Out Of The Past and a few others and hit the B-films of late. Maybe B minus as is the case here in this police procedural out of London town I’ll Get You starring old time 1930s heavy gangster George Raft.This time out Raft plays an undercover FBI guy working on an international kidnapping case in London. And if you are talking about FBI guys working on anything in the 1940s and 1950s then you are talking about something related to the red menace, the Cold War, the Soviet Union and its nefarious plans for world conquest (according to the Washington propaganda campaign and what did we know about such plans and if there such plans when it came right down to it) as the Cold War got icier as the decade after World War II went on. Here Raft, posing as a scientist after giving the Brits the slip entering London finally winds up working along with a fetching woman British agent (okay, okay, MI5) played by Sally Gray to find out what the hell happened to a few nuclear scientists who were abducted and sent behind the Iron Curtain. Sent there obviously to be grilled, and maybe more, by the bad guys who wanted to get the latest up-to-date information on whatever level the Americans had worked out making nuclear weapons even more deadly.Naturally the hook here has to be a sinister Mister Blank, Grand in the story line but everybody over the age of twelve knows that is strictly a front, an alias, who is manipulating the action behind the scenes and trying to keep the Anglo-American attempts to get the scientists back from succeeding. The whole story line is run as a bunch of cover plays and ploys with one side leading the other on wild goose chases until Raft pulls the hammer down. Naturally as well when there is a female agent involved whether here on in a James Bond vehicle there is romance in the air. Despite that slight diversion Raft and the boys grab the bad guys and all is well for a while-until the next turn in the Cold War battles. So you can see now why this one is a strictly B effort, not more. Got it.

This low-key and low-budget little Cold War thriller (whose UK title, ESCAPE ROUTE, makes a lot more sense than this randomly-chosen one for US release) is diverting and entertaining enough if nothing spectacular. By far its most valuable asset is the always luminous and endearing Sally Grey, whose final film this was, in a leading role.Unfortunately her co-star here is George Raft, who delivers another of his trademark wooden performances. The rest of the cast is made up of solid British character actors who deliver in their accustomed way. At 78 minutes, the movie doesn't wear out its welcome, and holds our attention fairly well through various mild surprises that keep the plot moving along.All in all, nothing particularly remarkable here, but certainly well worth a look, especially as a chance of seeing the elegant Sally Gray one last time on the big screen. A few interesting London locations, including the London Bridge and the Tate Gallery, add an evocative touch that help to give the film some visual personality. And for some reason composer Hans May seems to be quoting the "Song of the Volga Boatmen" constantly in his score, which is an strategy that certainly hasn't aged well.