Perfectly adorable

Highly Overrated But Still Good

I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

The film may be flawed, but its message is not.

Looks like budget-minded Lippert productions got more bang for their buck in England than in the US. This is a well-produced crime drama, with a tight script and some good touches. Nevill's (Clark) a not very likable business bigshot, (note that he treats his board of directors with uncalled for abruptness). Trouble is his latest big deal is failing, so, in desperation, he arranges his own death. That way his wife Andrea can collect insurance and be taken care of. His plan is to hire associate Paul to do the job. But surprise, the business deal suddenly goes through and Nevill's vindicated. Now he's got to stop Paul from carrying out his part. Nonetheless, it appears that Paul's gone away. Yet, surprise, somebody really is trying to kill Nevill. But if it's not Paul, who is it and why.Clark delivers an exemplary performance. Notice his subtle facial expressions to fit the mood. There're some good touches, like the suspenseful father in the park or the colorfully blustery Hyson, neither of which affects the plot but does add atmosphere. And catch that very last shot, suggesting that Nevill's obsession is not yet spent, despite the attempts to kill him, while poor Joan comes trailing after. It also suggests a sneaky subtext that might otherwise go unnoticed amid the murder plots. To me, the movie's much better than expected for a Lippert production. The movie's got mystery, suspense, and atmosphere, plus Clark's motivated turn. So catch it if you can.

After his London-based "Amalgamated Industries" suffers a devastating loss, American businessman Dane Clark (as James "Jim" Nevill) decides to end it all. This is going to be a strange suicide, however. In order for his wife to benefit from a life insurance policy, Mr. Clark asks an old friend to commit the murder. At first, sleazy hit-man Paul Carpenter (as Paul Kirby) refuses. But Clark makes Mr. Carpenter mad during a fight, and threatens blackmail, too. Finally, Carpenter agrees to kill Clark, within five days. Once the deal is set, Clark's failed business deal reverses. Now, he must stop himself from being murdered...Writer Paul Tabori adds a couple of surprises to this formulaic story. You can make accurate predictions, but you'll need to revise them. Director Montgomery Tully does well in dark alleys and seedy diners. Second-billed secretary Cecile Chevreau (as Joan Peterson) sends out the right signals, indicating she's interested in her boss. Clark is faithful to pretty wife Thea Gregory (as Andrea), however. Not seen as often as partner (spouse equivalent) Dirk Bogarde, tall blond Anthony Forwood (as Peter Glanville) is impressive. British players shine in small, uncredited roles.****** Paid to Kill (6/25/54) Montgomery Tully ~ Dane Clark, Cecile Chevreau, Paul Carpenter, Anthony Forwood

Irony meets Film Noir in this study of an anxious C.E.O. who, believing he is on the verge of financial ruin, plots his own murder so his philandering wife will get the insurance money. But as fate has it, his fortunes turn, and he must stop the hit-man he hired to kill him before it is too late. "One way or another, I'm gonna get ya!" could be the theme song of one sequence where the killer goes after him in a variety of ways, and after these several attempts fail, he learns the truth.An above average entry in this series of Hammer Film Noirs (many of them less than mediocre), it is a variation of the old "D.O.A. plot where the victim tries to solve his own (possible) demise. A faithful secretary is his only confidante, and there's always a doubt as to who the real culprit is. Dane Clark may seem an odd choice to play a corporate executive (especially one in England), but he's actually quite good. There's a very funny sequence involving a rare Aztec vase being protected by a nervous assistant to the over-the-top Sydney Greenstreet like archaeologist whose denouncement at the very beginning of the film sets Clark's plans into motion.

If Paid to kill had had a more complex leading man, a sharper and less careless script, better actors, a director who knew how to sustain tension and a show-down that was considerably less over-wrought, there might have been a competent and tension-filled noir. Faint praise, I know. Yet there are the bones for a nasty little thriller here; it's just that the flesh on those bones is weak. James Nevill (Dane Clark) is president of a British company that does something we're never sure of. The name is Amalgamated Industries. He's a hard-charging gambler, successful, and confident to a fault. When a major deal falls through, his company teeters on the brink of bankruptcy. So does he. No one knows this except himself and his loyal and attractive secretary, Joan. So he does what so many chief executives facing public failure would do...he arranges to have himself murdered so that his insurance will go to his wife. Then when the deal turns out to be a success, Jim can't locate the killer and tell him to forget it. Soon, Jim is being beaten on the head, chased down by a car on a lonely street and nearly blown up in his office. Joan, in whom he has confided, is determined to help the man she secretly loves. Jim's wife, on the other hand, may not be trying to help Jim. It all comes together late at night in the garden house of Jim's mansion. Let's just say that there are no surprises as all the key cast members show up. Dane Clark was a short actor who came across as intense, confident and tough. To my way of thinking, however, he was never entirely convincing winning a fist-fight with a bigger guy. In Paid to Kill, I also wonder what sort of direction, if any, he was given. His hard-charging, hard headed American CEO of a British company is almost a caricature. It's a one note performance. The other actors fare little better, with acting that's awfully close to soap opera standards. The premise of Paid to Kill is intriguing but the execution leaves a lot to be desired.