UnowPriceless hyped garbage

Sexyloutak Absolutely the worst movie.

FuzzyTagz If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

Logan By the time the dramatic fireworks start popping off, each one feels earned.

Spikeopath Tiger Bay is directed by J. Lee Thompson and written by John Hawkesworth and Shelley Smith. It stars Horst Buchholz, Hayley Mills, John Mills, Megs Jenkins and Anthony Dawson. Music is by Laurie Johnson and cinematography by Eric Cross. A young girl witnesses a murder and complicates the investigation by becoming attached to the killer. The Lord's My Shepherd. Set in the Principality of Cardiff, South Wales, Tiger Bay is a boffo noir drama in the tradition of the excellent Charles Crichton/Dirk Bogarde picture, Hunted (1952). The core of the story is about the friendship that forms between a murderer and the child that saw him do it. There is nothing remotely risqué in this friendship, it's tender and pertinent given the absence of parents and kin in Gillie's (H. Mills) life (she lives with her Auntie played by Jenkins). Korchinsky (Buchholz) is not a madman psychopath, his crime was a moment of madness, a crime of passion, and he is very likable and therefore it's believable that young Gillie would take him for surrogate kinship. If you want to be happy and live a king's life, never make a pretty woman your wife. The drama comes from the investigation led by Superintendent Graham (J. Mills), who has to stay on top of things whilst being spun lots of yarns by the precocious Gillie. Things are further spiced up by the presence of another suspect played by Dawson, who is all jittery and suspicious, this is a very good splinter in the narrative, ensuring that the pic never relies on being just about a special/odd friendship. The writers also provide much intelligence as regards the era, with nods to sexual politics, the changing of attitudes with children, while there's a multi cultural background to the play. Pat on the back is deserved as well for incorporating a thread about the opposing laws of maritime and those of the land. Yes, I have, and a very brave man. The aged dockside locales keep things earthy, as does the run down and cramped housing arrangements, these allow Thompson & Cross to cover it with noirish tints, the dockside scenes (and the church interiors) are all shadows and shimmers, it really is gorgeous work, the black and white compositions perfectly lit. Cast are superb, has Buchholz - away from the iconography of The Magnificent Seven - ever been better than he is here? J. Mills is class, but then he almost always was, Dawson is quality old boy, but it's young Hayley's movie, a stupendous performance from one so young, it's easy to see why she would carve out a considerable career in acting. A little irk exists about the complete lack of any scene showing Gillie's Auntie being worried that her charge has gone missing, especially since there has been a murder in the block, but it's a small itch to scratch. Tiger Bay, smart, pretty and dramatic. 9/10

Johan Louwet Rating this movie was not an easy thing to do. Giving it 9/10 might sound a bit crazy for a movie with a pretty straightforward story like this. However it's mainly the extraordinary performance of 12 year old Hayley Mills as Gillie that eventually decided to go 1 higher than I initially intended to give. The chemistry between her and Horst Buchholz as Polish sailor Bronic was amazing. The role of superintendent Graham was played by Hayley's father who might or might not have anything to do with the introduction of his daughter to the movie world. Whatever it is I'm grateful it happened as later on Hayley would put on other awesome performances in both drama and family movies. For me she is one of those actresses that can take a movie to a higher level. In this movie I didn't have the feeling those were father and daughter in real. Same can be said for The Chalk Garden in which John Mills plays the butler. Tiger Bay works wonderfully in black and white, adds to the atmosphere. It has great settings with the haven, boats, streets and apartments having an authentic look truthful to its time.

screenman Fans of the more recent 'Leon' will be familiar with the plot of a pubescent child infatuated by a criminal adult. In 'Tiger Bay' Hayley Mills plays just such a child who witnesses a murder and forms a similar bond with the culprit. Young Hayley had an amazing presence both in appearance and acting skill, and with her star-rated father blazing the trail you might have expected her to dominate the screen for decades. Yet, as sometimes happens, she quickly faded with adulthood.Well, here she's on top form as tom-boy par excellence. Her murderous mentor is played by a scarcely-less-juvenile Horst Buchholst. Both bring complete conviction to their roles. Cop on the case is Hayley's dad, John. The scenes in which these two spar-off, father and daughter, actor and actress, law and disorder, is mesmerising stuff. You bet they were roaring with laughter off-set. A solid support cast is led by Megs Jenkins.There's lovely location-work depicting port life at the turn of the 1960's. 'Kitchen sink' elements are authentic, too. The plot moves along at a good steady lick with lots of little twists & turns. Filming is in B&W with good use made of camera. There are many sly, noirish elements. Editing is also right on the money. Our anti-hero needs to find another sailing-berth before the inquiry net can tighten. He must be beyond the then 3-mile limit and bound for a country with which Britain has no extradition treaty. In a complete moral turnaround; we find ourselves rooting for the villain. The ending is suitably righteous.It's so nice to watch a mature movie featuring kids, instead of the gooey schmaltzfests that Hollywood turns out today.There's no particular issue I can fault with this movie, so I'm giving it 10 stars. Highly recommended.

Robert J. Maxwell Hayley Mills is really a piece of work in this film, a brazen tomboy caught in mid growth-spurt, unshaken by any circumstance. Her boyishness, even with her short hair and unisex jeans, is thoroughly undermined by her feminine features. Her blue eyes are doll-like, her eyelashes pale. Her plump lower lip has to be seen to be believed -- or rather witnessed, since whenever Mills is concentrating or squinting, it assumes idiosyncratic and sometimes frankly sensuous configurations. It's no wonder she became a Disney favorite.She's cute as hell and a good little actress too. She outshines Horst Buchholtz in some of their scenes together. As an illustration of her natural talent, watch her being interrogated by a policeman, John Mills, her father. He tells her to sit in a chair and answer his questions. She sits. He asks her questions, slowly, one at a time, but she never immediately answers because she's improvising the description of the murderer as the interview stumbles along. And, between answers, the director, J. Lee Thompson, allows her time to send her face through all sorts of spasms and contortions without ever quite overdoing it. It's an utterly charming performance -- and this is a thriller about a murderer and his diminutive confidante.Buchholtz is a Polish sailor who shoots his girlfriend to death during a fierce argument. Mills spots him and he traps her in a church attic. He can't very well kill the gangly kid, and they get to know one another. Buchholz winds up praying.That's not as bad as it sounds. It's not that kind of movie. Mills' attempts to protect Buchholz from the police are mostly comic. The climactic scene aboard a Venezuelan freighter has him giving up his freedom to save Mills' life, but that's not as bad as it sounds either.Beneath the comedy and suspense lies an interesting question about lying, sometimes called "the brother's dilemma" in psychology. What circumstances -- what features of a relationship -- justify lying to save someone else's hide? This script brings the police, the murderer, and Mills together in a final confrontation. Should she continue to lie in order for him to escape? The usual moral scenario would have her break down and confess to the police, with Buchholz carted away, a sneer on his face. But that's not what happens here.J. Lee Thompson, the director, made a couple of good, rip-roaring movies, including "Cape Fear", "The Guns of Navarone", "Ice Cold in Alex," but was more of an efficient technician than an artist. Yet he handles most of these scenes with an unexpected delicacy. Unfortunately the lighting of the first half of the film is stark and noir-like, dampening the emotional effect of the developing friendship.What we see of Cardiff, Wales, is pretty dismal -- all cold bricks and dripping water, much as I remember it from the train. It's as ugly and poor as where I grew up, and only slightly less dangerous. The movie itself is a bit too long for the material, and the director makes too much use of close ups, especially of Buchholz's shayna punim and Mill's unspoiled freshness.I have to go back to the scene in which Mills' Daddy is trying to squeeze the truth out of her about the appearance of the murderer, while she sits in the chair and grimaces. Was the murderer fair? "Fairish." Was he fat? "Fattish." Was he tall? "Tallish." I saw it tonight for the first time since its release and it still strikes me as hilarious.