Clevercell Very disappointing...

Arianna Moses Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

Portia Hilton Blistering performances.

Mandeep Tyson The acting in this movie is really good.

Leofwine_draca STOLEN FACE is a surprisingly intriguing little British thriller of 1952. It comes from Hammer Films and is directed by the superlative Terence Fisher, one of the studio's very best talents. The plot feels like an intriguing precursor to that of EYES WITHOUT A FACE, involving a dedicated plastic surgeon who decides to help out a scarred criminal woman by giving her a new face - that of one of his own lost loves. He ends up marrying the 'new woman', but there's a somewhat obvious twist in store and things get very dark indeed. Although an obviously low budget film and rather slow-paced story, this one kept my interest throughout. The scientific aspects of the story are better utilised than in something like Hammer's FOUR-SIDED TRIANGLE, while Paul Henreid is a sympathetic lead. Best of all is Lizabeth Scott, who reminded me a little of Shirley Eaton, doing very well in a double role and convincing as both characters. The drama is high in the first half and gives way to some compelling suspense in the second, as well as a great climax.

jamstubell I have around 80 Hammer films in my movie collection and this is the earliest one (due to its inclusion on "The Mummy" Blu Ray as a special feature). I'm embarking on a Hammer movie marathon for 2018 - viewing them in production order. This film kept me intrigued for most of it's short duration though the ending seemed rushed and lacklustre. Adequate performances from the leads - I have never seen or heard of Paul Henreid or Lizabeth Scott before but I found them both very watchable. The premise is fairly ridiculous and the plot rather lightweight but there were entertaining scenes throughout. The direction and editing was quite good for a low budget black and white film that is 66 years old. 4/10 - Fair

GusF It's not on the same level as the best early 1950s Hammer films that I have seen such as "The Last Page" or "Mantrap" - both of which were also directed by Terence Fisher - but it's a good little thriller which packs quite a bit into its 70 minutes runtime. It concerns a plastic surgeon, Philip Ritter, who alters the appearance of a disfigured habitual criminal, Lily Conover, to recreate a beautiful woman, Alice Brent, with whom he had a brief but intense romance. It can be seen as a precursor to "Vertigo" as well as Fisher's later (and lesser) Hammer films "Four Sided Triangle" and "Frankenstein Created Woman", which cover similar territory from a sci-fi / horror perspective.The film has a great leading man in the effortlessly classy and charismatic Austrian actor Paul Henreid. Best known for his supporting roles in "Goodbye, Mr. Chips" and "Casablanca", he was the most high profile male Hollywood star to ever grace a Hammer film and the most high profile overall after Bette Davis and Joan Fontaine. Lizabeth Scott, who only died in January, is not a great actress but she is perfectly fine as Alice. When playing Lily, her voice is dubbed by the original actress Mary Mackenzie so I can't really gauge Scott's performance but Mackenzie is a much better actress. It also features nice supporting roles from André Morell, my favourite Hammer leading man after Christopher Lee and Peter Cushing, in his first film for the studio and future "Dad's Army" star Arnold Ridley as well as a small appearance by Richard Wattis, who does not play a civil servant for once! This has nothing to do with my enjoyment of the film itself but I was a little disappointed that the John Wood in the film was not, contrary to what it said on both Wikipedia and IMDb, the Shakespearean actor who is best known for playing Stephen Falken in "WarGames".Overall, this is by no means a Hammer classic but it's great fun.

FilmFlaneur In 1950, American producer Robert Lippert formed a business alliance with Hammer studios. Under the agreement, Lippert would provide American acting talent - frequently shop-worn stars or just supporting actors who fancied a profitable trip out of the country - while Hammer would supply the rest of the cast and the production facilities. Together they would split the profits. Famous for his concern with the bottom line, Lippert produced over 140 films between 1946 and 1955, characteristically genre pieces such as I Shot Jesse James or Rocketship XM. For the British deal, most of the films were noir-ish thrillers - and include this title.Stolen Face (1952) offers the characteristic noir idea of loss, or confusion, of identity often through surgery, as seen in the plots of such titles as Dark Passage (1947), or Hollow Triumph (1958). In the present film, which has echoes of both Pygmalion and Vertigo, a plastic surgeon falls in love with a concert pianist during a vacation, thinks he has lost her to another man, and sets to copy her features when restoring the looks of another woman - incidentally a habitual criminal - whom he thereupon marries. If this sounds far fetched, then it is, but is carried of well enough by the two leads Paul Henreid and Lizabeth Scott, who between them produce sympathetic moments enough during early scenes that almost makes one forget limitations elsewhere. Another standout element of this film is the musical score by the late Malcom Arnold. There is also an interestingly ambiguous ending.