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Their motto was War pays for itself, so soldiers do not need to be paid, there is always plenty to plunder.

The law is depicting going about its usual business of persecuting the law-abiding when a boorish detective ends up hitting his head in one of those accidents so common in the movies; for this, war hero Rex Harrison gets three years in Dartmoor for manslaughter.

The film doesnt make it clear how much of his time hes served when he makes a break for it in the fog, but his chances dont seem very good; and the evident irony of the title is compounded by plot contrivances like the way Peggy Cummins path keeps crossing that of Harrison.

Miss Cummins is obviously in a trap of her own, betrothed to a man she doesnt love; and shes given a lot of didactic dialogue which it seems as unlikely that a human being would actually say in conversation as some of the things the script requires detective William Hartnell to say.

Never mind. Although you know this cant end well, theres plenty of action, enlivened by Freddie Youngs location photography on Dartmoor; and it builds up to a satisfying and moderately hopeful conclusion for which we have been prepared by a tremendous scene with Norman Wooland as the sympathetic parson.

He talks a lot of sense (The church was endowed by God, but is managed by men; and where there are men there are doubts and confusion); and since he has just said Our human laws are as fallible as the men who make them, the quotation from Galsworthy with which the film concludes (The law is what it is a majestic edifice sheltering all of us, each stone rests on another) seems intended either to placate the censors or to be taken with a pinch of salt.

Richard Chatten The Red Kimona (1925) Dir: Walter Lang Wri: Dorothy Arzner, Adela Rogers St Johns Cast: Priscilla Bonner, Nellie Bly Baker, Carl Miller, Mary Carr, Virginia Pearson US Silent 76 One of the most sought after missing Hollywood silents is Human Wreckage (1923), a drama about drug addiction that was the first of three crusading independent productions produced by and featuring the actress Dorothy Davenport under the name Mrs Wallace Reid.

Number Three was The Crimson Kimona which manages to pack an incredible amount of plot into under eighty minutes while addressing the thorny subjects of prostitution and the rehabilitation of offenders; and, like Human Wreckage, was banned by the British Board of Censors.

The surprises start early with the name of Walter Lang whose debut feature this was prominently displayed as director.

For 25 years from the mid-thirties until the early sixties, Lang was a competent A feature workhorse for Fox whose name adorns such bland big budget fodder as The King and I without his name ever on its own account ever exciting much interest among scholars.

Lang gets solo credit on The Red Kimona (Mrs Wallace Reid getting a separate supervisory one), and does a remarkably good job, aided by excellent photography by James Diamond and uniformly good performances, not all of them credited.

Tyrone Powers Sr, for example, plays Gabrielles brutish father, but the pinched-faced actress playing her mother is uncredited).

In order to sugar the pill of the earnest Sunday school nature of the subject (complete with biblical quotations), The Red Kimona is replete throughout with blandishments that keep the audience attentive, ranging from coloured inserts of the eponymous Red Kimona (presumably designed to symbolise the heroines fall from polite society) to an invigorating car chase through Santa Fe.

Making much of being based on a genuine criminal case in New Orleans in 1917, and scripted by Adela Rogers St.

Johns and Dorothy Arzner, the film begins and ends with Mrs Wallace Reid speaking directly to camera, her words conveyed by subtitles; a device routinely used in sound films and on television, but which Ive never before encountered in a silent film.

Gabrielles suitor Howard Blaine (played by Carl Miller) is so repulsive significantly a bruise can be seen on her upper arm in one scene, and the only kindness she receives later is from the prison matron one suspects a diatribe against men is in the offing; but socialite Mrs.

Fontaine, her Mrs Danvers like housekeeper (played with crow-like malice by Emily Fitzroy) and her coven of clucking lady friends get equally short shrift (another eye-catching performance by an uncredited performer is by the actress who plays Mrs.

Fontaines cynical maid).

As Gabrielle herself, Priscilla Bonners performance grows on you as the film progresses (which is not in straight chronological sequence) and her character evolves as she rolls her big round eyes lovingly filmed in close up.

Like historical detective fiction author Anne Perry when the release of Heavenly Creatures 1994 outed her forty years after the event as the fifties teenage killer Juliet Hulme, the real life Gabrielle Darley was less than thrilled at having the spotlight again turned on her without her permission using her real name; and in 1931 she successfully sued Mrs Wallace Reid for substantial damages.) Richard Chatten Palm Springs (2020) Dir: Max Barbakow Cast: Andy Sandberg, Cristin Milioti, J K Simmons, Peter Gallagher US Romcom 90 As romcoms go this is a blast of sunshine at a grim time when cheerful moving pictures are just what you need when you cant be bothered with anything deep.

There are laughs to be had and it doesnt overstay its welcome, perfect for an easy night in (again).

MT NOW ON DIGITAL PLATFORMS In the Mist I Dimma Dold (1953) Netflix Dir: Lars Eric Kjellgren Cast: Eva Henning, Sonja Wigert, Hjordis Petterson, Dagmar Ebbesen, Georg Rydeberg, Sven Lindberg Noir thriller Sweden 82 A valuable collection of films by the Swedish director Lars Eric Kjellgren have recently appeared on Netflix, including this rather stylish arthouse noir starring Eva Henning as the kittenish femme fatale Lora (a Nordic Lizabeth Scott).

Based on his own novel Vic Sunesons script begins as Lora is driving away from her comfortable mansion where her husband Walter (a rather ghoulish Georg Rydeberg) is later discovered shot dead.

But the murderer remains a mystery as the glacially elegant Lora demurely teases a coterie of locals including an earnest detective (Sven Lindberg) and a ludicrous pair of old biddies, into solving the crime.

Boasting bold black and white photography by Gunnar Fischer ( Wild Strawberries ) this is a joy to watch as it gracefully combines vivid realist street scenes of 1950s Stockholm with lush interiors culminating in a Cluedo style dinner party denouement primped by Erik Nordgrens needling score.

The late Christopher Plummer meanwhile hit his stride as a screen actor as the seriously mad Emperor Commodus.

He and director Anthony Mann had a such a blast working together they were keen to do another picture together; but Mann sadly died only four years and one and a half films later before that could happen.) The fact that it was a colossal financial (and critical) flop simply enhances its grandeur and the money is certainly all there up on the screen, with impressively wintry location work shot outside Madrid; while the recreation of the Forum in Rome made it into the Guinness Book of Records as the largest set ever built for a movie.

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And what colours) Robert Krasker and composer Dimitri Tiomkin both surpassed their work on the previous film, and although like most epics its at least an hour too long, Plummer comes into his own in that final lap; his emergence from a giant hand worth of Brigitte Helm flaunting herself in Metropolis and Dietrich shedding a gorilla skin in Blonde Venus.

Richard Chatten NOW ON PRIME VIDEO Bellum The Daemon of War (2021) Visions du Reel 2021 Dir.: David Herdies, Georg Gtmark; Documentary with Bill Lyon, Fredrik Bruhn, Paula Bonstein, Aisha Lyon, Sweed, Karolina Bruhn; narrated by Johannes Anyuru; Sweden Denmark 2021, 87 min.

The Romans were masters of conquering countries on more than one continent.