Ranked as the 17th greatest British film of all-time by the British Film Institute (and perhaps a bit more surprisingly, finding itself on the Vatican’s top 45 “great films” – in the “art” category), 1951’s The Lavender Hill Mob, written by T.E.B. Clarke (winning him the Oscar for Best Writing, Story and Screenplay) and directed by Charles Crichton (A Fish Called Wanda), is a clever send up of the crime caper.
Setting out to write an authentic crime story, Clarke actually went to the Bank of England, looking for advice. The Bank formed a special committee, the screenwriter asking numerous questions as they basically laid out the only way such a heist could work (by today’s standards, this seems absolutely ludicrous), meaning that, what we see in this 1951 feature is an accurate portrayal of what it would have taken to rob this iconic institution.
Centred on a bank clerk in charge of gold bullion deliveries (for the past two decades), Holland (Alec Guinness) is a meek, mild mannered, honest gentleman that, according to his superiors, is the type of guy who lacks drive and ambition. Forced to live in a boarding house (due to his meagre salary), he has actually long been plotting the perfect robbery. . . only problem is, he does not know what to do with the gold once he has pulled off the armoured truck heist.
With that fickle harbinger of luck, success and failure – fate tempting him, a designer of lead toys sold in France, Pendlebury (Stanley Holloway – Brief Encounter), just happens to move into the same boarding house. . . a light clicking on in the unexpectedly clever man’s brain.
Roping the man into his elaborate scheme, they are able to recruit (by cleverly shady method) two lifelong criminals, rough and tumble Lackery (Sidney James – a Carry On regular) and the aptly named Shorty (Alfie Bass), to aid them with the complex robbery.
Unlike many other crime films, Clarke writes the story in a way that makes us root for these guys. By no means violent or cruel, they have simply never won in life, decades worth of hard work and honest living never advancing them up even one rung of the social or economic ladder. Yet, despite this, both they and we know what they are doing is wrong. . . and, along with that, the audience understands, through decades worth of similar features, that this rarely ever works out well for the criminals. But, with an elaborately thought-out plan, can these honest criminals change this very long trend?
With that cheeky, dry British humour, some of the best lines come from Holland’s frank honesty to his bosses (an inside joke for the viewer –as they are oblivious to his true motives). For instance, when told that “The trouble with you Holland, if I may speak frankly, is that you do not have enough ambition. When a good opportunity comes along grab it with both hands. May not occur again”, to which he quickly replies, “Very good, sir. I’ll follow your advice”. Likewise, the robbery that they scheme is impressively clever, their quick-thinking and luck (much needed when you are not career criminals) impresses.
Crichton, a former editor, does a quality job with the feature. Expertly pieced together, car chases look realistic (another on-foot pursuit is equally as impressive), while the intricacies of the heist are crafted in a way that captures both the thrills and the anxious wait time (and the fears that pop into your head when things take unexpected turns). Also, watch for a late reappearance from fate (this time the cruel kind), which finds Holland and Pendlebury required to descend the stairs of the Eiffel Tower at full force – a beautifully edited, kaleidoscopic descent that places us in the nervous pairs’ shoes – dizzy in their unexpected pursuit of a most innocent foe.
Also, keep your eyes open for some future stars in the making. Audrey Hepburn can be seen in the opening scene, an early role for the soon to be A-lister (only her third – and first appearance in a big movie. . . Guinness was very impressed with her, making sure she got a bit part – her stage work made her unavailable for a larger role that had been planned for her), while a little over halfway through, Desmond Llewelyn (yes, the gadget master Q) has an uncredited performance as a Customs Officer (12 years before taking on his iconic role in the second James Bond film From Russia With Love – he would reprise it 16 more times), and lastly, keep your eyes peeled for a chemist at a police exhibition towards the end of the movie, for you will see the first ever movie role for the great Robert Shaw (who would coincidentally also appear in From Russia With Love, and, of course, Jaws – not to be confused with the Bond henchman). To return to Hepburn once more, another movie connection would find Sterling Holloway playing Audrey Hepburn’s father thirteen years later in My Fair Lady.
A classically comedic take on the crime film, The Lavender Hill Mob, which shot numerous scenes on location in both London and Paris, is a most entertaining watch. Featuring stellar performances from its cast (Guinness earned an Academy Award nomination for Best Actor in a Leading Role), a quality visual style, a realistic story and that unique dry British humour, there is something here for everyone. So, put on your cufflinks and watch a few formerly honest fellows attempt to elevate their life in a most original way. . . you will soon learn if they can spin lead into gold.