This is a fabulous movie and just goes to show you how good a film can be with excellent writing and acting. Even if there are no big-time stars in the movie, the four leads do fantastic jobs and are given great roles. The biggest names in the film are Laurence Harvey, Richard Basehart and Gloria Graham, but all three were at the time relatively cheap talent and affordable to this British production company. Additionally, Stanley Baker and John Ireland round out the great cast. It's also interesting that Basehart and John Ireland star in the film since they both play nice guys, as both have played some really wicked and exciting Noir roles and are two of my favorite Noir actors. In fact, ANY Noir film starring either is a must-see in my opinion.

The movie is in some ways like Film Noir, but it lacks the same sharp dialog and most of the characters in the film seem like nice ordinary people you can care about--not the usual Noir thugs. Because of this, while the film is about a robbery committed by a gang, it is much different from films like RIFIFI or BOB LE FLAMBEUR because the film isn't about gangsters or professionals. While some might think this makes it less of a film, it deserves to be held in as high an esteem as these two other great films because it offers some amazing character studies and insights you don't normally get from a "caper film". Additionally, the usual film angles and cinematography isn't present but for this film it works out just fine.

The film begins just before the quartet rob the post office to steal 90,000 Pounds. Instead of committing the heist, the film then abruptly changes and shows the back story of all four men and how these non-criminals came to a point in their lives where they were so desperate that they risked everything for money. These character studies were great because they really made you care about three of the men and in a way you really did want to see them succeed--now that's excellent writing!

Richard Basehart is an American married to a young Joan Collins. Their lives are being ruined by an evil and manipulative mother who will do anything to either break up their marriage or at least keep Collins in London. Unfortunately, instead of just killing the horrid old woman (which most viewers will hope--believe me),he is stranded with his wife in London and living with the old harpy--and it's killing them inside. They need to do something to get back to America before Collins or her unborn child dies or Basehart commits murder!

John Ireland is an American in the army and is married to Gloria Grahame. She's a small-time actress but also a tramp who blatantly cheats on him (with Miss Grahame, this is no surprise as her career was based on such roles). He needs out of this awful marriage and he's in trouble with the army and needs to escape.

Stanley Baker is a journeyman boxer who has destroyed his body in the hope of retiring. Unfortunately, through no fault of his own, his nest-egg is gone and he is without job prospects after losing his left hand. He loves his wife but can't figure a way out of crippling poverty.

Finally, we have Laurence Harvey. He is very unlike the other three in that you never like him and he was not intended to be likable. In many ways, he's like an upper class version of the cad he played in ROOM AT THE TOP but in this case his rich wife has had enough of his gambling, cheating on her and broken promises. She's leaving for Kenya and it looks like it might be alone. He is the most exciting of the three to watch in action, though as I said, he's NOT the nicest guy you'll see in film!

So as you can see, all four men need money and otherwise they never would have considered a life of crime. Most interesting, though, is how over time it becomes apparent just how different Harvey is from the rest--leading to a bang-up conclusion to the film that seems very much like a typical Noir thriller. The final scenes are great, though some pointless and moralistic narration at the end does blunt the film's impact just a bit.

So often overlooked but a terrific film throughout. See this film!

By the way, if you wonder why Hollywood actors Basehart, Ireland and Grahame appeared in the film, it was relatively common in the 1950s for foreign production companies to recruit a few Americans (or in Ireland's case, Canadians) for their films. This added star power was thought to increase marketability in America and made financing easier. Oddly, this practice while common in Britain, was also very common in Italy where non-Italian speakers starred in films--such as Basehart in Fellini's LA STRADA.

Also, listen closely to Grahame. Her British accent appears and disappears throughout the film and so this isn't one of her better roles.

THE GOOD DIE YOUNG is a fine British crime film noir of the 1950s with an impressive British/American cast and an intriguing storyline. The narrative is carefully structured, beginning with an exciting interlude before telling four separate character stories in flashback. Eventually the viewer catches up with the present for a gripping climax.

The first thing you notice about this film is the exemplary cast. Laurence Harvey is perfectly cast as the despicable cad who gathers together a team of desperate men to pull of a post office robbery. Richard Basehart is the imported American player struggling to wrest control of his youthful wife Joan Collins from his sinister mother-in-law (Freda Jackson, who with this and THE BRIDES OF Dracula had a fine role in domineering older women). John Ireland and Gloria Grahame have a convincingly volatile relationship.

Best of the bunch is a thoroughly sympathetic Stanley Baker playing a down-on-his-luck boxer going through some very tough times. The underrated Baker is a delight in the part and steals his scenes, even from Harvey. The likes of Robert Morley and Lee Patterson provide solid support. The lengthy flashback scenes are engaging pieces of character work, true to life and authentic, and they serve as a good set-up for the electrifying climax where things don't go according to plan. The last twenty minutes of this film are impressively downbeat and nail-biting to boot. Great stuff.

Four men with four guns are in a car in London ready to do a crime. The movie goes back to reveal how they got there. Joe Halsey (Richard Basehart) has returned from the war but he's fearful that his wife Mary (Joan Collins) has left him to go back to London. He quits his job and rushes over. He's overjoyed when she tells him that she's pregnant and ready to leave her mother behind. Mike Morgan (Stanley Baker) is a struggling boxer on his last legs. Eddie Blaine (John Ireland) is frustrated with his actress wife. Miles 'Rave' Ravenscourt (Laurence Harvey) is a kept man with a rich wife and growing gambling debts. Neither his wife nor his rich father (Robert Morley) is willing to help. All four men need quick money.

It takes a bit too long to introduce all four men. It's better to condense all the stories before the men get into the car with guns. Add the time to recruit the men, it leaves little space in the movie for the caper. It's an interesting idea but I would just flip the time spent around. Less time on the setup and more time with the crime.