joe-pearce-1 I found this a good, solid little mystery that could probably have been somewhat better had more imaginative forces been brought to bear on the story and filming. The one thing that is pretty much perfect about it is the acting, with just about everybody in it performing at peak efficiency when considering what they've got to work with. A couple of reviewers found John Mills a bit too straight or severe in his character's acceptance of the very strange things that are happening in his world, one remarking that Cary Grant did this kind of thing better for Hitchcock because Grant is an Everyman and Mills is not. I would have reversed that in a nanosecond. Until the Tom Courtenays of the world came along, Mills was about as much of an Everyman as the British Cinema could produce, and anybody who thinks of Cary Grant as an Everyman has a very elevated opinion of Man! Anyway, the Ambleresque premise and happenings in this film might have been better managed by Agatha Christie, who would at least have provided a better denouement than we get here. The one given here is pretty acceptable, but in no way special. Still, it makes sense, and that is as much as we can expect from most mystery stories. The film does hold the attention, because although we know that Mills is the victim of some nefarious plot (mainly because we are always with him and learn of each succeeding mysterious element at the same time as he does), the puzzle that is set up is really quite bizarre and we can't imagine how it will be explained away. It is, and acceptably so, but Christie would have had our jaws dropping as explanations poured forth. The film is held up and made excellent by the quality of the acting. There are no weak links in that regard, and Mills is supported admirably by Derek Farr, Roland Culver, Mervyn Johns, Lionel Jeffries and Wilfred Hyde-White (especially by the latter), and on the distaff side, just as excellently by Noelle Middleton as his fiancée and the always-admirable Rene Ray as a mysterious and somewhat duplicitous woman involved in causing Mills's problems. I might add that I was previously unfamiliar with Ms. Middleton, and she seemed to me totally first-rate, beautiful and downright classy throughout. I really must see more of her. (Ah, how I miss the 1950s!) Anyway, a solid Mills effort, and if not as excellent as some of his other films, that may just be an over-critical evaluation based on the extraordinary excellence of the film work he gave us over some 70 years of practicing his craft!

sol- An early film from Gerald Thomas, who would later go on to dedicate his career to the Carry On comedy series, this is a very different sort of film. It is a mystery film, and in many ways archetypal, with a web of different events that an innocent man has to work his way through. It is not a brilliant film, especially in comparison to the very best of its genre that was being churned out at the time, but it does the job fairly well, with an intriguing enough plot and good application of music. It is complicated beyond credibility, and the film does not have the power to suspend one's disbelief, however a competent cast working with a competent director find a way to make it work as a satisfying watch.

tedg Several commentors here and elsewhere have noted that this is the type of story tat Hitchcock was able to exploit so well. Its a sort of post-noir noir where the capricious fate is preserved but the darkness is taken away.The big question is: why didn't this work and Hitchcock's stuff did? It isn't any of the usual suspects: actors or story or pacing or anything like that.I think it was the camera. Hitch's camera isn't connected to what his characters see and know. This camera (and Scorsese's for instance) are. When there's a puzzle, and we know that a certain fellow is the mark, it is a mistake to force the viewer to identify with him. That disconnected camera is a subtle effect, but powerful.Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.

fletch5 "The Vicious Circle" is a very unknown British mystery story. Like many Hitchcock movies, it's about a man who is being accused of a crime he didn't commit, and does everything he can to prove it. This time it's a Dr. Latimer (John Mills), who finds a murdered German actress from his floor. As an honest man, the doctor calls Scotland Yard, which turns out to be a big mistake...There's really nothing special in this little movie. Still, watching the film is an entertaining way to pass time. I enjoyed following the plot development. Fine actors are a plus.