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Saturday 16 May 2020

Hell is Empty (1967)

Director: John Ainsworth
Writers: John Ainsworth, from screenplays by George Fowler and Bernard Knowles, each in turn based on the novel Hell is Empty by J. F. Straker
Stars: Martine Carol, James Robertson Justice, Shirley-Anne Field and Carl Möhner

Index: 2020 Centennials.

Given that I’m watching and reviewing Hell is Empty for Martine Carol, born a hundred years ago today in Saint-Mandé, a high end department of the Île-de-France, it seems appropriate to remember her through this movie, produced by her last husband, because it’s quintessentially European. It isn’t just that it’s a British film shot in Prague, then in Czechoslovakia. It isn’t just that it has a set of European actors in prominent roles, like the Italian Isa Miranda and the Austrian Carl Möhner, or that they speak fluent English with accents that betray that it isn’t their first language. It isn’t just that there are two members of European nobility in the cast: Baroness Irene von Meyendorff was born in Tallinn, now the Estonian capital but then in Russia, while Catherine Schell, daughter of a Hungarian baron, is from Budapest. Ironically, the former was the most popular Nazi pinup girl while the latter’s family estates were confiscated by those same Nazis. It’s also that the film isn’t commercially available, so I found myself watching a dubious VHS rip with hardcoded Finnish subtitles. Needs must.

It’s not a good film but it is an interesting one, not least because it either had no idea what it wanted to be or because it aimed to be everything. I haven’t read the 1958 source novel by J. F. Straker, a maths teacher by profession, but he claimed to create books by outlining their beginnings and ends, then letting the middles flesh out as he wrote. That might explain why this picture, adapted from a pair of different screenplays, is so open to anything. At heart it’s a thriller but it also spends time as a courtroom drama, a heist flick, a polite mystery, a hospital drama and even a dubious romance during which the telling words “Stockholm Syndrome” aren’t ever mentioned. It isn’t even sure who to treat as the most important characters. The young crook who serves as our initial focus loses it pretty quickly. The romance angle hinted at early on is forgotten for most of the film. Martine Carol may be top billed and she may receive the most opportunities, but she’s hardly the lead. Characters come and go, their importance always unknown.