The_Professionals_(1960_film)

<i>The Professionals</i> (1960 film)

The Professionals (1960 film)

1960 British film by Don Sharp


The Professionals is a 1960 British crime thriller, directed by Don Sharp and starring William Lucas, Andrew Faulds and Colette Wilde.[2][3]

Quick Facts The Professionals, Directed by ...

It screened on US television in 1961 as part of the Kraft Mystery Theatre series.[4] It was one of a series of films Anglo-Amalgamated sold to US television for one million dollars.[5]

Premise

A gang of criminals, Joe Lawson, Vince Clayton and Eddie Holden, rob a suburban bank. Lawson then wants to rob a city bank and enlists the services of safe cracker Philip Bowman, who is just out of prison and is about to marry his girlfriend, Ruth. The thieves manage to rob the bank but Inspector Rankin interrogates Holden about the earlier robbery. Holden confesses and the police arrest the gang just as Bowman marries Ruth.

Cast

Production

The film was based on an original script by Peter Barnes. In September 1959 it was announced that the director would be Sidney Hayers. The job of directing eventually went to Don Sharp, who had been going to make another film written by Barnes, Echo of Barbara, that does not seem to have been made.[6]

It was the first fictional film Sharp made for Independent Artists, although he had made the documentary Keeping the Peace (1959) for the same producers.[7] Independent Artists were based at Beaconsfield but the studio was so busy at the time that The Professionals had to be filmed at Pinewood.[8]

Release

In the UK the film was released on the bottom of a double bill with Goliath and the Barbarians (1959).[citation needed]

In the US it was the first episode of NBC's Kraft Mystery Theatre a series of 16 original mystery and suspense films from England, which replaced Perry Como over the summer in the US and Canada. Frank Gallop hosted. It debuted on 14 June 1961.[9]

The film was so well received that Independent Artists then offered Sharp the job of directing another movie, Linda (1960).[7] It also led to Sharp being offered Kiss of the Vampire (1963).[10]

Reception

Kinematograph Weekly called it an "engrossing and thrilling tale."[1]

The Monthly Film Bulletin wrote: "The planning along the lines of a military operation, the trek through the sewers, the night watchman and his cat, the tear-gas and the fatal slip – these have quickly become the new stereotypes of the bank robbery nerve-stretcher. This tame and unconvincing example adds nothing new, unless it be an excruciatingly lady-like heroine, and no one connected with its execution, except perhaps William Lucas, appears to have taken the title very seriously."[11]

The New York Times TV critic called the film "an item of first rate suspense".[4]

Variety said "Don Sharp's direction was impressive in the heist sequences."[12]

The Boston Globe called it "professional enough but just too commonplace to be absorbing."[13]


References

  1. "The Professionals". Kinematograph Weekly. 12 May 1960. p. 26.
  2. "The Professionals". British Film Institute Collections Search. Retrieved 12 February 2024.
  3. Opens 'Kraft Mystery Theatre' Series By JACK GOULD. New York Times 15 June 1961: 87.
  4. Edwards, Bill (10 September 1959). "Production". Kinematograph Weekly. p. 16. (subscription required to access article)
  5. Sharp, Don (2 November 1993). "Don Sharp Side 3" (Interview). Interviewed by Teddy Darvas and Alan Lawson. London: History Project. Retrieved 14 July 2021.
  6. Edwards, Bill (10 March 1960). "Production". Kinematograph Weekly. p. 14. (subscription required to access article)
  7. Smith, Cecil (14 June 1961). "Britons excel in grave matters". The Los Angeles Times. p. 12 Part 2.
  8. Vagg, Stephen (27 July 2019). "Unsung Aussie Filmmakers: Don Sharp – A Top 25". Filmink.
  9. "The Professionals". The Monthly Film Bulletin. 27 (312): 85. 1 January 1960 via ProQuest.
  10. "Kraft Mystery Theatre - The Professionals". Variety. 21 June 1961. p. 31.
  11. Shain, Percy (15 June 1961). "Crime impact keeps seat hot for Como". The Boston Globe. p. 39.

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