When a prostitute is found dead in her flat, a boyfriend burglar is wrongly convicted for her murder, evading arrest but eventually caught when police are tipped by his gullible new girlfriend. After serving 15 years, a freed Logan marries Rosie and sets out to clear his name, locating two of her regulars and likeliest suspects, one an abusive stoker (Laurence) with a crafted alibi (Hope), the other a noted dramatist with breeding who can clear the ex-con but refuses to tarnish his own sterling reputation (Murray).
Nobody depicted the warm underbelly of the English social stratum, aka, the common class, better than blacklisted Brazilian, Alberto Cavalcanti whose own salad-day foreys (1910s, 30-40s) into that songful, sometimes seedy world most certainly flavored his films. Premiering two years after his vastly under-rated Trevor Howard noir, They-Made-Me-a-Fugitive (Brennan Merrall Hope Saunders) (47), Trespass stars Richard Todd in his first credited role, the same year he received an Oscar nom for The-Hasty-Heart (49), Stephen Murray and Patricia Plunkett getting top-billed. Rather lengthy for a post-War CD (95m) with few daylight scenes, accounting for the "dreary" descriptions of casual critics, yet, this movie is entirely engaging in its compelling story (some empathy in the final conflict would've pleased), human touches and every performance, Rosalyn Boulter (Frankie "Sorry for nothing!" Ketchen) and Todd especially impressive, the latter who could've received TWO nominations at the 1950 Hollywood gala (3/4).
Nobody depicted the warm underbelly of the English social stratum, aka, the common class, better than blacklisted Brazilian, Alberto Cavalcanti whose own salad-day foreys (1910s, 30-40s) into that songful, sometimes seedy world most certainly flavored his films. Premiering two years after his vastly under-rated Trevor Howard noir, They-Made-Me-a-Fugitive (Brennan Merrall Hope Saunders) (47), Trespass stars Richard Todd in his first credited role, the same year he received an Oscar nom for The-Hasty-Heart (49), Stephen Murray and Patricia Plunkett getting top-billed. Rather lengthy for a post-War CD (95m) with few daylight scenes, accounting for the "dreary" descriptions of casual critics, yet, this movie is entirely engaging in its compelling story (some empathy in the final conflict would've pleased), human touches and every performance, Rosalyn Boulter (Frankie "Sorry for nothing!" Ketchen) and Todd especially impressive, the latter who could've received TWO nominations at the 1950 Hollywood gala (3/4).