This is a strange film that veers from expressionist noir to knockabout comedy throughout. The noir is brilliantly done but the ‘comedy’ distracts. Part of the post-war ‘spiv’ cycle where the bad guys are those who had a ‘good’ war economically by running the ‘black’ market, Noose doesn’t seem to have enough confidence in its material. Maybe the director decided to have some fun by messing about with camera angles and lighting whilst indulging in occasional slapstick. Edward T Greville’s direction veers between the brilliant and daft. At times it seemed like a bargain basement Citizen Kane: when a character looks at a dance floor through cut glass we see the fragmented images. The opening is a bravura shot of Bar (Nigel Patrick) arriving at work (it’s not quite one take but that was clearly the intention) and, to indicate the inebriation of a character who hiccoughs, the camera tilts left-right-left-right.
This film’s also interesting for the female protagonist played by Carole Landis in her last film before committing suicide. She’s a feisty American fashion reporter in London who decides to expose Joseph Calleia’s black market racket. She’s somewhat blasé about what’s she’s doing and BFI’s Screenonline piece is worth reading as it points out the narrative’s opposition between the ‘bad’ foreigners and the ‘good’ British criminal fraternity. I disagree about Nigel Patrick, however, who the piece suggests is over-theatrical; I found his performance entirely engaging. It was one of his first films and he became a stalwart of British cinema.
Noose (The Silk Noose in America) is an unusual example of a film that mixes its styles in a rather haphazard way which is a pity as many of the noir scenes are compelling.