The Broken Horseshoe

Though the 1970s were the heyday for British TV spin-offs, author Francis Durbridge's serials, notable for each episode's cliffhanger ending, were among the first to transfer to the big screen twenty years earlier.

Here, Mark Fenton, a hospital doctor or possibly consultant as he is addressed as Mister, becomes ensnared with the double-dealing members of a crime ring after falling for the glamorous Della Freeman. Fenton appears to have more time on his hands than most members of his profession and he appeared in a similar adaptation OPERATION DIPLOMAT, played by Guy Rolfe. A likable cast includes Robert Beatty, with his decidedly Canadian accent as Fenton, while Elizabeth Sellars, an excellent and somewhat under used actress plays Della, looking classy and elegant in a sumptuous array of furs and hats. There's also two celebrated specialists in sinister foreigners for British films and TV, Ferdy Mayne and Roger Delgado.

The only film of Director Martyn C. Webster, a BBC radio producer whom had worked with Francis Durbridge on the Paul Temple series starring Peter Coke; he ensures it gets off to a flying start. Durbridge's thrillers and series were always gripping and enjoyable despite his over use of certain plot devices. See for example the similarities in a more polished adaptation of his work, Gerald Thomas's THE VICIOUS CIRCLE (1957), also featuring a doctor in trouble.

A talky but good looking Butchers quickie based on a Francis Durbridge serial embellished with a noisy faux Rachmaninov score by Wilfred Burns, handsome photography by Gerald Gibbs, handsome leads in Robert Beatty and Elizabeth Sellars and amusing cameos from the likes of Frank Atkinson and Vida Hope.

This is an adaptation of a Francis Durbridge tv serial, which was in six half hour episodes, performed live and not recorded. It's easy to see where the cliff hangers were even though it's very compressed. Durbridge stories are full of twists. It's well worth seeing the later BBC ones that do exist. But I'm mainly writing this to correct the very annoying point in the goofs. Fenton is a surgeon and so is not addressed as doctor. Surgeons are always addressed as mister.

Anyone who is interested in the atmosphere of Post-War Two tawdriness in London should watch these ' minor ' films of the early 1950's. Robert Beatty who was often seen on the screen then is always watchable, and he is good as a doctor who gets embroiled in criminal activities, and with a woman played by the underrated Elizabeth Sellars who has a mysterious past. The plot centres on supposed aid for Polish refugees called ' The Broken Horseshoe ' and the twists and turns of murders surrounding it. A clever plot but the film is really watchable for the good acting and the ' rich ' and cluttered apartments of the time and the ' poor ' apartments for those who are struggling under rationing and low paid jobs. Robert Beatty epitomises the former while Vida Hope ( a fine character actor of the period and responsible for producing the original production of ' The Boy Friend ' ) shows us the latter. Darkened rooms, even darker streets try to hide the slow recovery in the UK, and it is well shown in this film. Repression in every area and crime perhaps partly because of it is conveyed. A good film for those interested in the past, and films of the time are indispensable for showing social history.

It all looks very well and makes sense, and the lady in question is as beautiful as you could ever wish, but nothing is what it appears like. It's the ordinary skilful Durbridge touch of a clever thriller with a mystery dominating the plot, as two doctors get involved in a fearful business of murder, planted evidence, mysterious messages written on a mirror and deleted, invisible ink and so on, and all you know is that at least Robert Beatty must be innocent, which he always is but nevertheless always gets into trouble. The lady in question is the beautiful Elizabeth Sellars, whom it is also impossible to suspect of anything wicked with her irresistible Jacqueline Kennedy looks, while the gorgeous music of Wilfred Burns makes the whole set-up impeccably seductive, and like doctor Robert Beatty you are ready to believe anything. Fortunately he has a brother-in-law in the police who keeps his head sober and isn't easily fooled, not even by the beauty of women, so eventually the whole thing gets sorted out. But you never learn whether the other woman was murdered or not, but you could always hope that she survived, like doctor Robert Beatty did himself from the villain's knock-out drops.