In this article, we will explore in detail Dead Man's Evidence, a fascinating topic that has captured the attention of millions of people around the world. From its impact on society to its implications on everyday life, Dead Man's Evidence has generated intense debate and aroused great interest in various communities. Throughout these pages, we will delve into different aspects of Dead Man's Evidence, from its origin to its evolution over time, providing an exhaustive and updated analysis of this very relevant topic. By combining data, expert opinions, and testimonials from people who have been impacted by Dead Man's Evidence, we aim to offer a broad and balanced view that enriches our readers' understanding of this fascinating topic.
| Dead Man's Evidence | |
|---|---|
![]() Film poster | |
| Directed by | Francis Searle |
| Screenplay by | Arthur La Bern |
| Produced by | Francis Searle |
| Starring | Conrad Phillips Jane Griffiths Veronica Hurst |
| Cinematography | Ken Hodges |
| Edited by | Jim Connock |
| Music by | Ken Thorne |
Production company | Bayford Films |
| Distributed by | British Lion Film Corporation |
Release date |
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Running time | 67 min |
| Country | United Kingdom |
| Language | English |
Dead Man's Evidence is a 1962 British black-and-white crime thriller "B" film directed by Francis Searle, starring Conrad Phillips and Jane Griffiths.[1] The screenplay was by Arthur La Bern.
A British spy is sent to Ireland to investigate the death of a former colleague who defected.
The film was made at MGM British Studios, Borehamwood.[1]
The Monthly Film Bulletin wrote: "Though the mystery is too tangled to unravel itself satisfactorily in the limited running time, Arthur La Bern's script scatters its red herrings ingeniously, and the acting is entirely adequate to its demands, with Alex Mackintosh and Veronica Hurst giving especially adroit performances as an astute reporter-photographer team. Essentially light-weight, it does not discredit the new effort to raise the quality of second features that is one of the more encouraging signs in the British cinema these days."[2]
The Radio Times Guide to Films gave the film 2/5 stars, writing: "This provides a sobering insight into how the rest of the British film industry was handling espionage thrillers while Terence Young was making Dr No. With his heyday as TV's William Tell already behind him, Conrad Phillips stars as a spy sent to investigate when the body of a defector is washed up on an Irish beach. The direction is as perfunctory as the script."[3]