6.4/10
125
7 user 5 critic

West 11 (1963)

This Michael Winner directed film looks into life at Notting Hill, London, then a seedy slum. A down on his luck Joe Beckett (Alfred Lynch) is recruited into crime by Richard Dyce (Eric Portman).

Director:

Michael Winner

Writers:

Keith Waterhouse (screenplay), Willis Hall (screenplay) | 1 more credit »
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Cast

Cast overview, first billed only:
Alfred Lynch ... Joe Beckett
Kathleen Breck Kathleen Breck ... Ilsa Barnes
Eric Portman ... Richard Dyce
Diana Dors ... Georgia
Kathleen Harrison ... Mrs. Beckett
Freda Jackson ... Mrs. Hartley
Finlay Currie ... Gash
Marie Ney Marie Ney ... Mildred Dyce
Harold Lang Harold Lang ... Silent
Peter Reynolds ... Jacko
Sean Kelly Sean Kelly ... Larry
Patrick Wymark ... Father Hogan
Gerry Duggan Gerry Duggan ... Father Dominic
Brian Wilde ... Speaker
Allan McClelland Allan McClelland ... Mr. Royce (as Alan McClelland)
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Storyline

This Michael Winner directed film looks into life at Notting Hill, London, then a seedy slum. A down on his luck Joe Beckett (Alfred Lynch) is recruited into crime by Richard Dyce (Eric Portman).

Plot Summary | Add Synopsis

Genres:

Crime | Drama

Certificate:

See all certifications »
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Details

Country:

UK

Language:

English

Release Date:

29 September 1966 (Mexico) See more »

Also Known As:

Apartamento de Solteiro See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Sound Mix:

Mono (RCA Sound Recording)

Aspect Ratio:

1.66 : 1
See full technical specs »
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Did You Know?

Trivia

In 1961, Joseph Losey considered making a film from Laura Del Rivo's novel, under the book's original title, "The Furnished Room". He had thought about casting Terence Stamp and Claudia Cardinale in the leading roles. A screenplay had already been written by Eric Bercovici before Losey's involvement, which had impressed the director. It was only then that producer Daniel Angel got involved; he and Losey were friends (Angel later produced Losey's "King And Country" and "The Romantic Englishwoman") but they had disagreements about the screenplay and the project was shelved after Losey's withdrawal. Two years later, Angel revived it and this film resulted. See more »

Goofs

The influx of people and the difference in the girl represent the passage of time and the character's repeated attempts to find a bed for the night. The original girl passes by and bids him goodnight. See more »

Quotes

Mr. Royce: Breakdown on the Central Line again, Mr Beckett?
Joe Beckett: Yeah, that's right.
Mr. Royce: It won't do, Mr. Beckett. It's not good enough.
Joe Beckett: I set off at half past eight, Mr, Royce.
Mr. Royce: Then we have to set off just that little bit earlier. Business in this establishment commences at 9.00 am. We don't require you here at ten-to, but we don't expect you here at ten past. Nine o'clock.
Joe Beckett: [sotto voce] Aw, shut up.
Mr. Royce: And we don't wear coloured shirts during business hours, Mr Beckett, whatever we may do outside.
See more »

Connections

Referenced in The Great Vazquez (2010) See more »

Soundtracks

The Garden Where The Praties Grow
(uncredited)
Traditional
See more »

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User Reviews

 
Smoothly made little Brit-pic
7 January 2016 | by ianbrown65See all my reviews

A minor but very smoothly made example of British film noir. Director Michael Winner, then at the start of his career, had a strong cast (Alfred Lynch, Eric Portman, Diana Dors, Finlay Currie, et al) to inhabit this starkly photographed little crime melodrama set in London bedsit-land, all tacky Notting Hill coffee bars and smoky jazz clubs.

Lynch makes a downbeat but sympathetic protagonist, more thoughtful than the usual type of hero. Portman plays the clipped-moustache ex-military man-turned-swindler to perfection. Dors is just right, too, as a blousy divorcée ("Young enough to still want a husband; old enough not get the one I want").

Winner plays up the salacious sex element a bit, but a tight Keith Waterhouse/Willis Hall script touches on Lynch's Catholic guilt, and Currie's existential search for 'truth', just enough to give the story a modicum of depth. There's also an evocative score by Stanley Black, with Acker Bilk on sax.

Until latterly a neglected, even scorned, cinema sub-genre, these usually low-budget British film noirs, often superbly photographed, were violent by the standards of their day, and showed the rain-washed streets of cities like Newcastle (Payroll), Manchester (Hell Is a City) and Brighton (Jigsaw), as well as London, could be pretty mean, too.

Winner's next film, The System with Oliver Reed, was even better.


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