Il lungo coltello di Londra

This movie would lead you to believe that Christopher Lee is the main star, but he is not in it all that much. He is in this one more than he was in "Scream and Scream Again", but for most of his scenes he is wearing a hood. This movie was sort of good, sort of bad. The opening of the movie was messed up on the copy I got as scenes skipped here and there and the sound was messed up too, but as the movie went along it got better. This movie first shows a complicated armored truck robbery in to much detail. It then shifted to the circus where the police tracked some of the money. In the circus we meet all sorts of strange characters; any number of them could be responsible for the robbery and a murder that took place on circus grounds. Of course, the movie leads you to believe this or that person committed the crime and each time they usually clear the person of the crime. Could have been better, but it could have been worse it was somewhat interesting. Has to be one of the only movies ever to end with a little person being fired.

This film is living proof of the wonders a stunning-looking print on DVD can do to a film: when I first saw it (in a dubbed version on late-night Italian TV), I had felt it was nothing more than average and dismissed it somewhat. Truth be told, a few weeks prior to this I had watched the other Christopher Lee/John Moxey film - THE CITY OF THE DEAD (1960) - by way of VCI's exemplary DVD edition, and perhaps I compared it unfavorably to this minor horror classic.

I had long known Blue Underground were preparing a SE and I was not sure it was worthwhile for me to invest in it, but now I'm certainly glad I did because I enjoyed the film immensely (even though I had my heart in my throat all the time, expecting the picture to freeze and break up any minute - which, thankfully, did not occur!). It's still nothing great, I guess (Lee certainly made many better films where his talents were more immediately in evidence; the hood and the fairly ridiculous accent hamper his performance here somewhat) but it's easily the best film from BU's "The Christopher Lee Collection" Set - and in fact it and the restored edition of THE BLOODY JUDGE (1970), not forgetting the plentiful and wonderful supplements, save this relatively expensive purchase from being a wasted opportunity (considering the low profile of all four titles in the Lee canon)!

The plot is pretty convoluted (I can certainly believe Jess Franco here when he said that Harry Alan Towers is a very good writer, not evidenced by the two Fu Manchu films): while the identity of the killer could have easily been established if one had thought about it for a while (considering it follows the Agatha Christie maxim that the least suspicious-looking character is indeed the guilty party) but, frankly, the film provides red herrings and new twists at every turn that when the final revelation is made, it still comes as fairly surprising (it's perhaps harder to swallow that the buffoonish if clearly ambitious Eddie could be the delicious Margaret Lee's secret lover!). The film also features an arresting opening robbery sequence and is beautifully shot for such a low-budget film. The music score is very atmospheric and the circus scenes consist mainly of stock footage but the lion-taming and knife-throwing acts inject a measure of excitement at appropriate moments.

Casting is certainly above-average for this type of film; there are some pretty good performances here: Leo Genn's above all as the amiable yet dogged Police Inspector; Margaret Lee is more than a radiant beauty - despite her sluttish character, she was fairly sympathetic (especially after having been threatened by a lion) and I think that the film loses something with her sudden, tragic exit; I liked Skip Martin a lot, amusingly named "Mr. Big" - he is a pretty interesting character to begin with (sort of a cynical Chorus to the proceedings), and even more so for being involved in some shady business on the side, for which he gets his just desserts in the end!; Klaus Kinski is eminently watchable despite his limited role (at least he does manage an effective death scene); Cecil Parker added some nice but not overstated British humor; Heinz Drache made for a pretty engaging hero; Suzy Kendall, on the other hand, was more decorative than anything else - though, in all fairness, she could only do so much with her thinly-written role. As I've already mentioned, it's disappointing that Christopher Lee was not involved at all with this release; an interview would have been nice.

The gloved killer of this film brings up comparisons with the giallos being made contemporaneously in Italy, though it's nowhere near as violent (in fact, this one is pretty tame in the scares/gore department). I did notice some flaws in the story: Christopher Lee taking off his hood when his mortal enemy (Drache) is beside him is a miscalculation, in my opinion; ditto, we never learn how Drache finds Lee and Kendall's hiding-place in the cave so easily when we had just been told the Police had scoured the area thoroughly, bearing no results! Also, Lee's death comes as a surprise: he is not the villain and if it was done because it was deemed 'obligatory', it was certainly a silly move!

I only saw the film for the first time a couple of years back but, for the life of me, I have no idea what constitutes the 'new' 8-minute sequence which was supposedly unearthed for this release? Can anyone shed some light on the matter? The Audio Commentary is somewhat dry, though Moxey's enthusiasm for his films (if not his memory of them) is constantly felt throughout the discussion; again, disappointingly, the cuts this film was subjected to are hardly mentioned and certainly not listed in any way - though, in all fairness, Moxey probably wouldn't have watched any of the export versions (not recently anyway)!

Circus of Fear is based on a novel by Edgar Wallace; the same writer who spawned the German "Krimi" style of film-making. This film is a British take on the Krimi style and comes out something like a Hammer Horror mystery, though the film is not without its problems. That's possibly why this film is not easy to come by; as despite the fact that it stars Christopher Lee in an interesting role as a circus lion tamer, Circus of Fear, at times, isn't all that easy to get along with as the plot is really quite messy and the horror that goes along with the central mystery often gets in the way. The plot begins with a botched heist that ends with one of the criminals shooting a police officer. The shooter is given the chance to go and give the boss his share before being allowed to flee the country; but unfortunately, he is murdered upon his arrival at the meeting place. The action then switches to the local circus where is believed that the identity of the murderer will be revealed. There we are introduced to a whole host of shady and mysterious characters...

The film is directed by John Llewellyn Moxey, who previously directed Christopher Lee in the excellent, fog-soaked, City of the Dead. Said previous film is a better one as the plot worked better; but while Circus of Fear doesn't always work well, the things that do work are very good and the film never gets boring. The cast is headed by Christopher Lee who is grim and imposing in his role as a horribly scarred and masked lion tamer. The film also features a small role for the great Klaus Kinski, as well as sound performances from British performers Anthony Newlands, Leo Genn and Margeret Lee. The film presents a lot of suspects and it soon becomes easier to just watch it rather than try and guess who the killer is. However, the two twists in the tale can be guessed (the first one is very obvious) without putting too much strain on the viewer, which is a shame. City of the Dead was all about atmosphere and this film is fairly atmospheric too, though not nearly to the same extent as the earlier film, which is another shame. Overall, Circus of Fear is not a great film; but it's entertaining enough and I can recommend it.

This is likable but perhaps in the end a little too keen to confuse. With more sex and violence this would have been a giallo and we would have worried less about one after the other being made to appear the guilty one. Great start with robbery against the backdrop of Tower Bridge and we proceed with a fantastic little river trip amidst the docks that were. Hard now to recall just how dismal, dirty and downright depressing some of these bits of London were in the early sixties. Great to see now though and contrast with today.

The story slows as we go to the circus but there are plenty of period vehicles and fairly interesting turns to watch. Klaus Kinski, and Suzy Kendall have far too little to do and whilst not wishing to spoil anything, what a strange part for Christopher Lee!

This is a pretty good little film, though it is a lot like two films in one. The first portion is a heist film. However, after the money is hidden among the props at a circus, the film abruptly becomes a 'psycho at the circus' film. This was a very odd way of constructing the film--not bad, mind you, just very different.

Once in the circus portion of the film, one by one people are killed or nearly killed and the film becomes like a mystery. Who is the person behind all this? Who will they kill next? I would say that the true perpetrator was a pretty good choice, as it took me by surprise--making the film a better than average film.

By the way, although the film gives top billing to Christopher Lee, you barely see him in the film. Much of the time he's wearing a hood and I even wondered if it was always him under this disguise or if they just had an extra (a very TALL extra) filling in for some scenes. Who knows? However, even it was always him, it's more Leo Genn's film. Regardless, it's worth a look.