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NEVER TAKE SWEETS FROM A STRANGER (1960)

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NEVER TAKE SWEETS FROM A STRANGER (1960)
NEVER TAKE SWEETS FROM A STRANGER (1960)
NEVER TAKE SWEETS FROM A STRANGER (1960) Review

Who?
Director: Cyril Frankel
Producer: Anthony Hinds
Screenplay: John Hunter
Cast: Gwen Watford, Patrick Allen, Felix Aylmer, Niall MacGinnis, Alison Leggatt, Bill Nagy, MacDonald Parke, Michael Gwynne, Janina Faye, Frances Green, Estelle Brody, James Dyrenforth, Robert Arden, Vera Cook, Budd Knapp

How?
The Pony Cart was a US play about child abuse written by Roger Garis, which had caused mild controversy when it was first proposed to be staged as a one-off in London's West End, mainly due to the fact of an 11 year old Janina Faye being chosen to appear in a 'sex play' (she was later withdrawn). John Hunter adapted the play for the screen, this screenplay eventually ending up being read by Anthony Hinds, who saw its potential for Hammer. Cyril Frankel, a newcomer to Hammer, was chosen to direct. Indeed most of the cast were also new to the company, only Felix Aylmer, Michael Gwynn and Janina Faye herself having featured in previous pictures. It was by pure coincidence that Faye was chosen from auditions to play the little girl in the film. A lengthy battle with the censors ensued before shooting could begin, particularly over the picture's courtroom scene, where they were keen to omit all references to a medical examination of the child. Eventually shooting began at Bray Studios and Black Park with most of Hammer's regular crew, except that a new cinematographer was hired - one Freddie Francis.

What?
Recently arrived from England, Peter Carter (Allen) has been appointed headmaster of the local high school in Jamestown, a Canadian town founded by the Olderberry family, who are still highly respected figures amongst the community. Whilst playing with her friend Lucille (Green) Carter's daughter Jean (Faye) goes with her to the Olderberry house, where Lucille tells her they can get free candy. Jean later tells her parents that old Mr Olderberry was there alone and asked them to take their clothes off and dance for him, which they did in return for sweets. The Carters make a formal complaint to the police, who are reluctant to do anything, given the Olderberry's stature in the town, and advise them to drop it since no physical harm came to Jean. It transpires that the town is aware of Olderberry's proclivities, but choose to turn a blind eye. Adamant that the town's children need protecting the Carters insist on taking the case to court, a decision that ends up having devastating consequences...

So?
There are certain Hammer films that, in a sense, fly under the radar. Known to most as purveyors of Gothic horror, Hammer in fact produced films in a number of genres, and many of these films are among the best the company ever released. Never Take Sweets From a Stranger is one such film - not a Gothic horror, but as horrifying in its own way as any, indeed more so. Sweets has for too long been unjustly neglected in Hammer's canon, a fact which is now changing given the wider availability of the film. Never setting out to be a 'message' film, Sweets is however as relevant today as it was prescient at the time of its release, despite the storm of controversy that swirled around it and which ultimately prevented it from receiving a proper US distribution. While not without fault, Sweets is a little gem of a film, one which fully deserves being sought out. A tight script, well directed by Frankel with some memorable scenes and shots, beautiful b&w cinematography from Francis, but above all a wonderful performance by Felix Aylmer as Olderberry, made all the more unnerving given our unfamiliarity with Aylmer in such a role (mirroring perhaps the inability of those in the film the face the dark side of those they know).

Olderberry is one of the most horrific characters Hammer ever committed to celluloid. In spite of the fact that he has relatively little screen time and never once utters a word, Olderberry is ever present, a  shadowy figure throughout the picture. From his first appearance watching through a telescope the girls play (are his hands shaking through excitement or old age?), to his courtroom presence greedily staring at Jean, to the climactic chase through the forest where his shambling zombie-like gait conveys a man driven by an urge he cannot control, to the truly horrifying finale where he reels the boatbound girls in like an angler landing a prize catch, Olderberry is a masterpiece in characterisation. Marred slightly perhaps by the implications of senility (as if a man with all his faculties could not commit such crimes) nevertheless Felix Aylmer's performance is truly chilling. Credit must also be given to Janina Faye and Frances Green as the girls. Faye in particular gives a sterling performance in her journey from innocence to true fear of the evils that lurk in the world. Niall MacGinnis should also be noted in his merciless role as Oldenberry's defence attorney.

Sweets' use of black and white cinematography only helps to heighten the dark nature of the tale, and Freddie Francis (a master of the medium) excels himself here. Never has Black Park looked so threatening and claustrophobic in all of its appearances in Hammer pictures. Individual scenes stand out like ugly jewels of lighting and direction - the 'reeling in' scene with Olderberry's leering face in close-up, the girls cowering in a rowboat on the light-dappled water; the shadowy murder scene in a decrepit cabin with Olderberry standing over the splayed body. Images that stay with one long after the film is over. The central court scene is  difficult viewing, Olderberry's attorney picking Jean's story apart, traumatising her in the process. In all, Sweets is a film that was way ahead of its time in exploring the subject matter, indeed in facing child rape and murder head on. It is not, as some accused it at the time, in the least bit exploitative, never seeking to shock or titillate for the sake of it. Nevertheless, Sweets does not shy away, and raises questions not only as regards child abuse but also as regards power, control and the collusion of the fearful in covering up evil. It is deeply unfortunate that Sweets received the reception it did among some sections of the media and, in America, censors - despite being supported by child protection groups. Hammer, because of their reputation, were accused of cashing in merely for entertainment. Stung, it was, as a result, the last time Hammer ever attempted a picture along these lines.


 Never Take Sweets from a Stranger
(1960) on IMDb
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