I’m not someone who enjoys games of chance; I don't even handle coins. Val Guest directed and adapted the screenplay from Maurice Proctor’s novel for this Hammer Films production, *Hell is a City*. The film features Stanley Baker, John Crawford, Billie Whitelaw, Maxine Audley, Donald Pleasence, Vanda Godsell, Joseph Tomelty, and George A. Cooper. Stanley Black composed the music, and Arthur Grant handled the cinematography in HammerScope. When violent criminal Don Starling (Crawford) breaks out of prison, Manchester police Inspector Harry Martineau (Baker) suspects he’s returning to collect hidden loot from a previous crime. Predictably, a serious offense occurs within the city, and all signs point towards Starling; however, what will be the cost for Martineau as he attempts to bring down a man whose name inspires fear in the local population? Has someone been trying to give me questionable money? This is British crime drama at its finest—absorbing as a suspense story, clinically honest with its characterizations, and skillfully directed by the versatile Val Guest. *Hell is a City* is undeniably a very British film, much like how classics such as "Brighton Rock" and "They Made Me A Fugitive" exemplify “Britannia Rule Grimarannia”; here, Guest makes excellent use of Manchester's somber locations to infuse a tense narrative with dark energy. It’s a depiction of a city filled with dilapidated terraced homes, working-class pubs, dirty streets, and the unforgiving Moors—the latter visually striking but also a source of misery in both reality and fiction. A Starling in the Attic. The story unfolds as a sort of unfiltered, semi-documentary police procedural. Harry Martineau is the main character, but he’s far from a stereotypical cop; he's a tough individual who isn't afraid to use force or dishonest methods to achieve his goals. He’s a hero in some respects, yet the happiness he desires outside of work, at home, seems increasingly distant. He’s not alone, though, because many of the memorable characters featured here are either failures in life, illicit gamblers, unfaithful spouses, lonely people, or deceivers and abusers—and that's before considering Crawford’s villain. Don Starling casts a dark shadow over everyone he encounters; this robber, rapist, and murderer may not appear physically intimidating in Crawford's portrayal, but his name, voice, and mere presence leave Martineau in a cold sweat. If a man ain't got kids, he's still fair game! The script is tight, without unnecessary scenes or filler; there’s a sense of realism throughout. There are occasional moments that require some suspension of disbelief, but nothing significantly detrimental to the film. The performances are generally strong, with Baker standing out as a stoic yet isolated police officer, and Whitelaw and Godsell making a notable impression in a movie largely dominated by male characters. Could Don Starling have been played by a better actor? Possibly. Or perhaps someone more physically threatening (like Baker in his villainous roles)? Certainly. However, the more you watch, the more you realize it’s a frightening portrayal precisely because it's so human—just as is Martineau's character. Some scenes are shocking and disturbing, while others captivate and enthrall; *Hell is a City* is an excellent film and highly recommended for fans of crime and noir. 9/10

Source on TMDB