GamerTab That was an excellent one.

AshUnow This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

Fatma Suarez The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Mathilde the Guild Although I seem to have had higher expectations than I thought, the movie is super entertaining.

XhcnoirX Richard Todd is a low-level cosmetics sales man struggling to make good sales figures. He recently bought a car to help him cover more ground more easily, but due to the financial dent he couldn't afford insurance on it. One day at work his car gets stolen by Adam Faith, who steals cars for garage owner Peter Sellers. Sellers, keeping his own garage fully legal, has another garage change the plates and such on these stolen vehicles, and then sells them for a nice profit. Despite his wife Elizabeth Sellars's wishes as well as those of police inspector Noel Willman who wants to nail Sellers for his entire operation and not for one measly stolen car, Todd decides that this is one fight he does see through all the way, and he starts searching for his car. Besides his stolen car racket and Willman, Sellers also has to deal with his girl Carol White, who is fed up with her prisoner life with bored with him, and is more interested in Faith.A late Britnoir, with some seemingly atypical casting choices for Sellers ('Dr. Strangelove...') and Todd ('The Interrupted Journey'). But both really sink their teeth into their characters. Sellers is especially nasty and mean here, and thoroughly convincing, and Todd is a born loser who decides enough is enough, for once, but who has no idea what he's doing aside from getting in everybody's way, as well as thoroughly upsetting his wife and their marriage. He is not exactly likable, more annoyingly pathetic, and while that might put off some less-noir-inclined viewers, for me it works in this movie's advantage. It gives the movie a very interesting psychological dynamic, and both actors give a great performance.It's also a pretty gritty movie, with a lot of shadows and shoddy interiors. Director John Guillermin ('The Towering Inferno') and DoP Christopher Challis ('Chitty Chitty Bang Bang') use carefully chosen camera angles and vantage points to add tension, with a very nice brass-heavy score by first time composer John Barry, who would go on to score many Bond movies as well as 1981's 'Body Heat'. So yes, this is a pretty dark movie and even if the story isn't all that surprising, it is executed really really well, with Sellers and Todd excelling. Recommended! 8/10

mgtbltp Never Let Go is about the auto wrecking/salvage business, I guess called auto "breakers"/salvage in the UK, but an illegal aspect of it. When a late model car is wrecked it's title is saved and the car's engine number, chassis number, and body serial plates are transferred to a stolen car which is then resold under the wrecked cars title. Lionel Meadows (Sellers) is the kingpin of an auto theft ring. Titles are collected from wrecks by MacKinnon (Bailey), make, model, and year are put on a list. This list is given to Lionel who then gives the list to his boys who then steal the exact matches. These cars are then driven to Reagan's (Stock) auto body shop where the serial numbers are changed and the cars repainted to match the wrecked titles. The altered cars are then driven to Meadows Garage and sold.John Cummings (Todd) is a milquetoast barely making ends meet as a London cosmetics salesman. One night he stops at Berger for a few hours to do some paperwork before heading home. While inside his car is pinched by Tommy Towers (Faith) who drives it to Reagan's (Stock) auto shop, where it will be altered.John is devastated, he didn't get it insured for theft, just third party risk. John's wife wants him to forget about trying to get the car back. She's becoming distressed about his actions, actions which she, in a backhanded way, ignited. She told John that he was always chasing pipe dreams that he never caught and made reality. That sets John off, determined to "never let go" until he gets his Anglica back.John's obsession and alienation from his wife increases steadily throughout the remainder of the film. This change is convincingly well acted by Todd who goes from soggy milquetoast to hard crust burnt toast. Peter Sellers though is practically unrecognizable. His Meadows character looks like his pudgy evil twin. He's frighteningly different, very twisted from the comedic Sellers we are used to. He sports a push-broom mustache. He is petty, vicious, vile, and has the facade of an outwardly polite charmer. Meadows pseudo smiles, only with his mouth not his eyes. He's a fastidious over the top neat freak, complaining about Jackie's untidiness, placing coasters under drink glasses and ranting about lit cigarettes left on veneer. He also has a sexual sadistic kink with his mistress Jackie. He's a pressure cooker slowly building as things in his little world go awry. He has startlingly violent outbursts. Like a safety valve he's letting off steam, but it's not helping, you know there will be the inevitable explosion as he rages on about the "little nob, lipstick salesman" , and how he's going to "kill him. put him in his car, and burn it!"Never Let Go builds nicely to an inevitable showdown punctuated by John Barry's score. It's what a noir should be, about interesting small time characters and simple conflicts that spiral bizarrely of control. Bravo 9/10

funkyfry This is a nice little picture, kind of a commentary on crime, which features Richard Todd as a perfume salesman who doesn't take kindly to having his new Impalia stolen by a gang lead by Peter Sellers. Although there may be elements of dark comedy, this is basically a straightforward crime drama and all the principals are very effective, particularly Sellers.You could basically see this film as a modern urban variation on "High Noon." The police and the man's wife eventually decide that going after Sellers is far too dangerous, but as the title implies this man will just not let go of his precious car. He goes so far as to bring danger down upon his own household, when Sellers tracks him there and pushes his wife around. Finally he has to have a man-to-man showdown with the villainous Sellers, and the men beat each other nearly to death.I've never really seen Sellers quite as evil as he was in this film. He pushes women around, he robs from innocent people with no remorse, and he brutally punishes his underlings when they disappoint him. He attacks the role with great relish, like a man who enjoys doing bad things. This was Sellers' least mannered performance to date, among the films I have seen. In contrast to some of his later films where his excellent performances stand out like a sore thumb compared to the rest of the film, this one serves the story and the film before all else.It's an interesting comment on materialism in our society, although I don't know if it plays out today exactly as it was intended. I found myself becoming quite aggravated with the good guy and wishing that Sellers could get away with it, because I was almost as infuriated with him as the bad guy. There's also a juvenile delinquent couple that just seems thrown in to give the story "modern relevance." But all in all this is a very memorable movie and I'm surprised that it's not discussed more often.

writers_reign Not for the first time and probably not the last I find myself in the minority; two possibilities present themselves; 1) I'm hard to please, 2)the majority of the posters here are easy to please, go figure. Clearly the aim here was to show that Peter Sellers could do something more substantial than the Goon Show and Adam Faith could do something besides mouth banal lyrics occasionally on key. Sellers idea of 'straight' acting is to say everything through clenched teeth, shout a lot and throw, stamp on and/or break things. As added insurance director Guillerman pits him against Mr. Balsa-Wood Richard Todd to whom he evidently gave the direction 'look wounded and act dogged'. There are, as it happens, a couple of decent actors along for the ride but Elizabeth Sellars, Noel Wilman and Mervyn Johns are largely wasted. Basically we're talking Bicycle Thieves with an English accent and a faux-jazz score used to point out that 'menace' and 'violence' are about to occur. Let it go, you'll thank me in the end.