moriczmusic This is a film that has a lot going for it: --a typically excellent, nuanced and three-dimensional performance from Trevor Howard as a forced-into retirement espionage agent encountering a surprising new adventure back home while at times revisiting aspects of his own past.--Jean Simmons in her radiant younger days in a role of mystery, range and substance.--a highly intelligent script that expects viewers to think and rewards their patience.--stylishly and confidently directed, and photographed with great distinction by the later-legendary Geoffrey Unsworth.--excellent use of locations, well-paced, filled with surprises.Those who are comparing it to British Hitchcock are partially right, but it also has the erudite touch of a Sir Carol Reed about it. It's visually quite satisfying, naturalistically shot for the most part, but with well-thought-out process shots when necessary. This story eventually covers a lot of ground, and each new location and situation is shot with a real eye for the distinctive look or texture of where they are next. While the visual choices are rarely "flashy," there is a real sense of location and imagery. Outdoors and nature compete with urban or more claustrophobic settings, and all the myriad parts add up to a polished and satisfying whole. It starts a little slowly, but once the wheels begin to turn, it gradually takes you on quite a journey, narratively, emotionally and geographically. I found myself very invested in the main characters.Another plus is the excellent score by Benjamin Frankel -- it hits its full marks not only in the dramatic or suspenseful passages, but also in some unusual and subtle piano music played by Simmons' character.No complaints about this movie! It's a gem.

morrison-dylan-fan With having enjoyed seeing actors Jean Simmons, Kenneth More and André Morell appear in number of recent viewings over the last year all so,I was happy to find a title which starred all 3!,which led to me getting ready to find out how yellow the cloud could be.The plot:Badly failing his latest mission,British secret service agent Maj. David Somers is told that he must leave the world of espionage behind.Frustrated over no longer having any work,Somers decides to take a job cataloguing butterflies for Nicholas Fenton in his country house.Arriving at the mansion,Somers is introduced by Nicholas to his wife Jess,and their niece Sophie Malraux,who the Fenton's have been looking after,since the sudden death of her mum.Despite being told about her "issues" Somers finds himself falling in love for Malraux,and sticking up for her when farm hand Hick tries to push Malraux around.Waking up,Somers & Malraux discover to their horror that they will no longer be having any arguments with Hick's,due to him having been found dead,with Malraux knife in his back.Realising that someone is trying to frame Malraux for murder,Somers and Malraux decide to go on the run,in the hope of finding the real killer before the thunder clouds appear on the horizon.View on the film:Setting Somers & Malraux on the run,director Ralph Thomas (who after this would work again with producer Betty Box over 30 times!) and cinematographer Geoffrey Unsworth, (who was also the cinematographer for 2001: A Space Odyssey)give the filmed on location in the north of England outdoor scenes an atmospheric crisp appearance,which cast the title against an icy Film Noir backdrop,as Somers and Malraux find themselves having to go deeper into the countryside,as Somers former spying chums close in on them.Contrasting the chill from the outdoor scenes, Thomas and Unsworth turn the Fenton's country house into a haunted mansion,as stylish close-ups reveal the "ghost" haunting Malraux troubled memory.Giving the Fenton house a peaceful shell,the screenplay by Janet Green (a Film Noir by a women!) superbly chips away to show the darkness hiding within,as the Fenton's start to appear oddly keen over Malraux not being able to clearly remember about how her mum died.For the bubbling romance between Somers & Malraux,Green does very well at giving the relationship a smooth sweetness,which makes the rather sudden ending something that is easier to accept,as Somers shows Malraux how much she means to him.Chasing after Somers, André Morell gives a terrific performance as Secret Service Chief Chubb,with Morell showing Chubb to be oddly impressive by his former fellow spy Somers showing that he still knows how to use his former skills,whilst Kenneth More gives the flick a dash of charm as Willy Shepley.Entering the movie looking like a worn- down Film Noir loner, Trevor Howard gives a brilliant performance as Maj. David Somers,with Howard showing Somers relaxed manner to transform into a thrust to clear Malraux name,whilst the elegant Jean Simmons (who like the director,would work with Betty Box again for So Long At The Fair) tremendously shows Malraux fear in tracking down the killer in time,and remembering how her mum died,as the clouds start to part.

writers_reign It's more than possible than David Cornwell saw this film and kept the idea of a British secret agent getting fired and then taking a dead-end job in mind when he came to write The Spy Who Came In From The Cold a good decade later. Naturally it's not quite straightforward plagiarism, for one thing Trevor Howard really is fired whereas Richard Burton was only pretending; against that both ex-spies take similar jobs, Howard in a private house and Burton in a left-wing private library. That's still not as referential as the Clouded Yellow gets because next comes the one about Sonia Dresdel trying to send Jean Simmons mad - straight out of Gaslight and, for good measure, we get a touch of the 39 Steps as Howard and Simmons take it on the Jesse Owens with the Lake District standing in for Scotland. None of this would matter if there was even a spark of chemistry between Howard and Simmons, alas, a romance between Stalin and Mother Teresa would be more convincing. On the other hand nostalgia buffs will have a field day spotting the likes of Richard Pearson, Sam Kydd, Richard Wattis, Dandy Nichols, Geoffrey Keen and more all fretting and strutting their hour upon the stage. Poor Butterfly indeed.

dave-blake Hitchcock was of the opinion that audiences aren't really interested in what puts protagonists into danger - only that they ARE in danger, and need to escape.This film proves Hitchcock was not 100% correct. Police believe Jean Simmons is guilty of a crime, when she plainly isn't. Trevor Howard decides their best course of action is to run for it. And so, the body of the movie has our charismatic pair dodging on and off trains, buses and coaches - jumping across rocks at the top of a waterfall - scrambling across dockyard roofs.All good exciting stuff - but I couldn't get out of my mind that it was all unnecessary. They should have stayed put.In other words, the MacGuffin wasn't strong enough.