Hell Is a City

Hell Is a City is a British crime film from 1960, directed by Val Guest and based on the novel by Maurice Procter. Set in Manchester, England, the film crafts a gripping, hard-boiled portrayal of a police manhunt in the seedier parts of the city, illustrating both the danger of the criminal world and the relentless pressure endured by those who pursue justice. The film stars Welsh actor Stanley Baker in the lead role, joined by a commendable cast including John Crawford and Donald Pleasence.

The film follows the no-nonsense and heavily burdened Detective Inspector Harry Martineau, played by Baker, who is a dedicated and seasoned policeman. Martineau is well-acquainted with the criminal underbelly of Manchester and faces a variety of challenges both in his personal and professional life.

When a ruthless criminal whom Martineau had put away years before, named Don Starling, escapes from prison, it becomes the inspector's top priority to hunt him down. Starling, played with intensity by John Crawford, returns to Manchester, bringing with him not only the spectre of his violent past but also a plan for a daring and dangerous jewel heist.

The escape of Don Starling reignites a particularly personal vendetta for Martineau, who considers the convict's apprehension unfinished business. It is this pursuit that is central to the film, driving Martineau's actions and fueling a relentless tempo that carries throughout the narrative.

As Martineau tracks Starling and his gang through the city streets, a grim portrait of urban decay and vice emerges, marked by sleazy bars, betting shops, and gambling dens. The film presents a murky world where the lines between righteousness and vice often blur, challenging the characters' morality and the viewer's sympathies.

Adding to the stakes, Martineau's commitment to his work strains his marriage to Julia, played by Maxine Audley. This subplot adds depth to Martineau's character, showing how his duty to the city and his quest to apprehend Starling takes a toll on his personal life, thereby humanizing the tough exterior of the policeman's persona.

Donald Pleasence delivers a stand-out performance as Gus Hawkins, a man with connections to the criminal world, yet striving to maintain a semblance of normal life with his young wife, played by Billie Whitelaw. Pleasence's portrayal adds a layer of depth and complexity to the film's examination of crime and its impact on individuals on both sides of the law.

Guest's direction is unflinching, capturing the toughness of the characters' environment with stark black-and-white cinematography, and a landscape pockmarked by a post-war era struggling with economic and social scars. The Manchester backdrop plays an almost character-like role in the film, its unromanticized presentation offering a realistic and gritty context for the characters' actions and interactions.

The narrative weaves through suspenseful sequences and action-driven scenes, with Martineau's relentless pursuit leading to hair-raising moments that demonstrate the danger of the criminal world, as well as the high cost of justice. The film skillfully balances pursuit and evasion, creating a thrilling cat-and-mouse dynamic that keeps the tension tight and the stakes high.

The dialogue in Hell Is a City is sharp and authentic, filled with era-specific colloquialisms and tough-guy repartee. The script affords the characters well-crafted lines that serve not only to propel the plot forward but also provide insights into their personalities and motivations.

The pacing is brisk, and despite the film's release over six decades ago, it possesses a modernity in its storytelling and style that contemporary audiences can appreciate. The film combines elements of police procedural with noir thriller sensibilities, resulting in a movie that simultaneously satisfies fans of vintage cinema and those seeking a gripping crime story.

The score by composer Stanley Black underscores the film's on-the-edge atmosphere. It has all the hallmarks of a classic criminal job gone wrong: betrayal, desperation, and a final showdown. It underscores the gritty atmosphere and heightens the dramatic tension of the narrative.

While Hell Is a City may be considered by some to be a hidden gem of British cinema, it stands as a shining example of the crime genre from the period. The dedicated performances of the cast, led by the indomitable Stanley Baker, contribute to a timeless portrait of a city in the throes of conflict between law and lawless. The film is a testament to the enduring power of good storytelling and character-driven drama, making it a must-watch for enthusiasts of classic crime films and British cinema.