Connianatu How wonderful it is to see this fine actress carry a film and carry it so beautifully.

Jayden-Lee Thomson One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

Tayyab Torres Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

Lachlan Coulson This is a gorgeous movie made by a gorgeous spirit.

jamesraeburn2003 A successful murder mystery writer called Robert Southley (Hugh Sinclair) bases his novels on his life experience: he used to be an armed robber in Pittsburgh Pensylvania and is actually on the run. His past threatens to catch up with him when his former accomplice, an American called Fenton (Michael Brennan) arrives in London, recognises him and sees the opportunity to try a little blackmail. He demands £500.00 for the return of a letter that Southley once wrote to him giving details of a jewel robbery they pulled off together. Southley pays up and Fenton gives him the letter, but it is a copy and he later comes back for more. Southley, not wanting to be caught and lose his luxurious lifestyle as a top writer, decides to kill Fenton and devises what he believes to be a foolproof way of doing it. But, after he has committed the crime, he finds that his friend Inspector MacDougall (John Laurie) of the Yard has been put on the case. The two men have had a long standing wager to prove that their own methods of solving crime are the most effective so MacDougall invites Southley along to help solve his own murder! Meanwhile, Southley begins work on his new novel and he is sort of basing it upon his own murder. He becomes perturbed when his interfering secretary, Linda (Dinah Sheridan), starts putting forward her own solution as to how his fictional character committed his murder. And, worse still, she is describing in exact detail the way that Southley murdered Fenton. Southley realises that he may have to kill Linda too...A very proficient suspenser from producers Monty Berman and Robert S. Baker who through their own production company, Tempean, made some of the very best British 'B' features of the fifties. It has an ingenious plot that Alfred Hitchcock would have probably loved and it is tempting for us to think about what he might have done with it.Writer and director John Gilling may have been no Hitchcock, although he was apparently experimenting with the technique of long choreographed takes in a bid to save studio time and the old master himself had been trying out something very similar at this time. Nevertheless, Gilling constructs the build up extremely well and his screenplay allows for some very suspenseful situations as Sinclair's meddling secretary begins to unmask him as the murderer - accidentally, at first, since it is only a coincidence that her ideas for his plot correspond with that of the real crime. Things get edgier and edgier as she gets closer to the truth culminating when she reads her employer's draft chapter of the proposed book in which the murder victim's criminal record reads exactly as that of Fenton's. How could Southley have possibly known when it had just been wired to Inspector MacDougall by the FBI? We can see that Southley is becoming more and more anxious realising that he will eventually have to dispose of Linda and the tension comes from when and how he will go about it. It does not matter that some of the film's plot twists and turns border on the improbable and, at times, even the absurd since the main thrust of the plot centres on the arrogance and pomposity of Southley's character since he is so convinced he has committed the perfect crime when even we can see it is full of holes and it is how he meets his eventual downfall that is really important here.The cast is is very good and the chemistry between Sinclair and Laurie as they try to outfox each other is reasonably entertaining. Barry Morse is also noteworthy as Dinah Sheridan's on screen boyfriend, Sgt. Harrison, who dislikes Southley intensely; in part because he is jealous of him since he believes her to be in love with him. Nor was he a fan of his novels describing them as "corny" among other things and, later, he spots a connection between Southley's written works and the murder method that enables MacDougall to catch his man and prove that his investigatory methods bases on "hard facts" are much more effective than Southley's "psychological deduction." But, not in the way he had first imagined he would.

Leofwine_draca I found NO TRACE to be a rather plodding British crime film and one that falls flat compared to rival product from the era. It has a good cast but proceeds to waste that cast on a slow-moving plot that follows obvious routes while lacking the kind of suspense and danger present in most other films from the period.The protagonist is the rather stuck up Hugh Sinclair who works as a writer of popular crime mysteries. One day he finds himself blackmailed by an old face from his past (a fun Michael Brennan) who knows a few skeletons in the closet, so to get rid of the blackmailer Sinclair decides to murder him. He does this by adopting an odd disguise which gives this B-movie some of the feel of an old Columbo episode.Eventually the police investigate and Sinclair becomes more and more desperate to cover his tracks. The story - by John Gilling, who also directs - is solid enough but the execution does fall rather flat and it doesn't help that Sinclair is so resolutely dull. Dinah Sheridan is better as the investigating secretary, while John Laurie and Barry Morse are a good double act as the police. A young Dora Bryan has a crucial supporting role and there's a ubiquitous Sam Kydd cameo too.

wilvram This is a variation on the theme in which a murderer finds himself investigating his own crime. Hugh Sinclair does well as Robert Southley, an arrogant crime novelist whom had been involved in robberies on the other side of the Atlantic decades earlier. Blackmailed by a former accomplice (Michael Brennan) he resolves to murder him. Some suspension of belief is then required. He turns up at Brennan's seedy lodgings, disguised only with a false beard and we're supposed to accept that Brennan wouldn't recognise him straight away. Then Southley's acquaintance Inspector MacDougall (John Laurie) a critical fan is coincidentally put in charge of the case and selects it as an opportunity for the know-all Southley to try his hand at some real detection. There is later some ironic commentary, intentionally or not, on some of this when Southley's perceptive and resourceful secretary Linda (Dinah Sheridan) suggests correctly how the murder was committed, only for him to patronisingly tell her that the idea is implausible.This is an example of a crime film awarded the somewhat inaccurate label of Brit Noir in some quarters recently. With a few exceptions, notably Ken Hughes in films such as THE LONG HAUL, British film makers rarely attempted to emulate the look and atmosphere of those hardboiled American movies later to be designated as Film Noir. Though films like NO TRACE may share a few superficial elements with them, their charm today includes their period of the ordered society of immediate post-war Britain, their cheery incorruptible policemen and in this case the adorable Dinah Sheridan's plucky but vulnerable heroine. There could hardly be a greater contrast with the treacherous, morally ambivalent world of the Noirs.

GUENOT PHILIPPE I was amazed by this pretty good surprise from John Gilling. One of his earliest films. One of his most hard to find ones. UK amazing crime movies are not so numerous. This one is cheap but effective, sharp and breathtaking.The tale of a famous crime novels writer who commits the perfect murder in order to protect himself against a black mailer. A guy he knew several years ago and with whom he committed some outlaw jobs. A guy he absolutely has to get rid off. At all cost.I won't spoil the movie, describe all the details and deprive you of the pleasure I took myself. One of the greatest UK B movies from these years.And produced by the wonderful Robert Baker and Monty Berman.