Cosh Boy (released in the United States as The Slasher) is a 1953 British film noir based on an original play by Bruce Walker. It was directed by Lewis Gilbert and featured James Kenney and Joan Collins. It was made at Riverside Studios in Hammersmith.
| Cosh Boy | |
|---|---|
 | |
| Directed by | Lewis Gilbert |
| Screenplay by | Lewis Gilbert Vernon Harris |
| Based on | play Master Crook by Bruce Walker |
| Produced by | Daniel M. Angel |
| Starring | James Kenney Joan Collins |
| Cinematography | Jack Asher |
| Edited by | Charles Hasse |
| Music by | Lambert Williamson |
Production company | Daniel Angel Films |
| Distributed by | Romulus (UK) Lippert (US) |
Release date |
|
Running time | 75 minutes |
| Country | United Kingdom |
| Language | English |
| Budget | £38,537[1] |
| Box office | £112,918 (UK)[2] |
Plot
editLed by 16-year-old Roy Walsh, a post-war London street gang specializes in snatching women's purses. They use their membership in a boys' club as cover. During a club-sponsored dance, Roy meets Rene, the sister of one of his gang. Over time, Rene submits to his sexual advances. Later, upon visiting a doctor, Rene learns she's in the family way. She tells Roy, who wants nothing more to do with her. Rene then attempts suicide. Meantime, Roy's mother, Elsie Walsh is seeing Bob Stevens. He urges Elsie to marry him. That way, he can take Roy "in hand." Sensing this new authority, Roy harbours outright hatred for Bob.
Bob is assistant manager at the Palindrome dance hall. One evening, Roy's gang rob the Palindrome's box-office take. During the heist, Roy shoots a staff member, wounding him seriously. Later that night in a hospital, Rene's mother witnesses her daughter's recovery from her suicide attempt. She then travels to Elsie's flat with a mob of concerned women, shouting for her to produce Roy. Then Bob arrives. He urges Rene's mother to go home. Next, he kicks in the door to Roy's bedroom, where the boy has taken refuge. Bob decides to give Roy a sound thrashing – for his own good. The police arrive next, just as Bob is brandishing his belt in readiness. Bob lets them in, and in reply to their enquiry as to his identity, he says he's the boy's stepfather, having just married his mother Elsie that morning.
The senior officer congratulates him. Then, seeing the belt in Bob's hand, he smiles, suggesting to his colleague they arrest another gang member and come back for Roy later. Bob begins thrashing Roy as the scene cuts outside and a mob of women listening to Roy's cries and shrieks for help. The detectives walk away silently, into the night.
Cast
edit- James Kenney as Roy Walsh
- Joan Collins as Rene Collins
- Betty Ann Davies as Elsie Walsh
- Robert Ayres as Bob Stevens
- Hermione Baddeley as Mrs. Collins
- Hermione Gingold as Queenie
- Nancy Roberts as Gran Walsh
- Laurence Naismith as Inspector Donaldson
- Ian Whittaker as Alfie Collins
- Stanley Escane as Pete
- Michael McKeag as Brian
- Sean Lynch as Darky
- Johnny Briggs as Skinny Johnson
- Edward Evans as Sergeant Woods
- Cameron Hall as Mr. Beverley
- Sid James as Police Sergeant
- Frederick Piper as Mr Easter
- Anthony Oliver as Doctor
- Arthur Howard as Registrar (uncredited)
- Toke Townley as Mr. 'Smith (uncredited)
- Walter Hudd as Magistrate (uncredited)
Production
editThe film was based on a play, "Master Crook" by Bruce Walker which had been originally titled "Cosh Boy". It debuted at the Embassy in 1951 starring James Kenney.The Spectator said "its rough, crude taste is shockingly welcome" and praised the third act for its "highly unpleasant, undeniably effective, melodramatic tension."[3] Variety called it "a strong piece of melodrama."[4]
Joan Collins called it "a shop girl’s melodrama and the public loved it. I enjoyed working with Jimmy and all the other young actors. The director, Lewis Gilbert, was adorable to me, and good to work with. "[5]
Reception
editCosh Boy has also been named The Tough Guy, or The Slasher. It was called The Slasher in America because they were unfamiliar with the term "cosh".[6]
It was among the first British films to receive the new X certificate. It was given a Certificate rating of 16 in Norway (1953), and banned in Sweden.
The film's release coincided with the trial of Derek Bentley and some media linked the film to Bentley's crimes. "Today you'd show it to 10 year olds", Lewis Gilbert commented in 2000.[7]
The film was banned in Birmingham.[8] It was also refused permission to be shown in Australia.[9]
Critical reception
editVariety said the film was "bound to attract undue controversy" wherever it was screened and felt American audiences would have trouble understanding the accents.[10]
The Monthly Film Bulletin said the film "can justly be accused of sensationalism. The characters are all stereotypes and in no way arouse the warmth of pity or indignation.... this film may provide plenty of ammunition to those who blame the screen for the incidence of juvenile delinquency. The awfulness of the crimes committed by the young thugs in the film is in no way emphasised and the excitement of conspiracy and chase is given a glamour which is in no way dimmed by the "nice" atmosphere of the youth club scenes and the puerility of the social workers, who can apparently be so easily duped. The performance of James Kenney and some good location work are the best points of the film... Joan Collins as the misused young girl is badly miscast."[11]
The Los Angeles Times said the "acting... is tops."[12]
Box Office
editThe film performed poorly at the box office.[13]
Historical context
editIn England in the early 1950s, male youths in post-World War II delinquent gangs who wore stylised Edwardian-era fashion were initially known as 'cosh boys', and 'Edwardians',[14][15] but later became better known as 'Teddy Boys' after a 23 September 1953 Daily Express newspaper headline shortened Edwardian to Teddy.[16]
References
edit- ^ Chapman, J. (2022). The Money Behind the Screen: A History of British Film Finance, 1945-1985. Edinburgh University Press p 358
- ^ Vincent Porter, 'The Robert Clark Account', Historical Journal of Film, Radio and Television, Vol 20 No 4, 2000 p499
- ^ "Master Crook." by Bruce Walker (Book Review) I. H. The Spectator; London Vol. 188, Iss. 6445, (Jan 4, 1952): 12.
- ^ "London Xma Stage Preems Hit Best Since May". Variety. 26 December 1951. p. 13.
- ^ Collins, Joan. Past Imperfect. p. 51.
- ^ "World-wide Film and Theatre News". The Daily Telegraph. Vol. XIV, no. 14. New South Wales, Australia. 22 February 1953. p. 38. Retrieved 5 September 2020 – via National Library of Australia.
- ^ Jones, Nicholas (10 March 2000). "Of human Bondage". The Guardian. Retrieved 9 April 2016.
- ^ "PUT ON YOUR EASTER BONNET". Mirror. Vol. 30, no. 1661. Western Australia. 28 March 1953. p. 6. Retrieved 5 September 2020 – via National Library of Australia.
- ^ "Australia Takes 68 British Productions". Kine Weekly. 13 May 1954. p. 8.
- ^ Review of film at Variety
- ^ Review of film Volume 20, No.229, February 1953, page 18 at Monthly Film Bulletin
- ^ Absorbing Drama Found in Twin Bill G K. Los Angeles Times 25 July 1953: A7.
- ^ Harper, Sue; Porter, Vincent (2003). British Cinema of The 1950s The Decline of Deference. Oxford University Press USA. p. 268.
- ^ McIntyre, Iain; Nette, Andrew; Doyle, Peter (2017). Girl Gangs, Biker Boys, and Real Cool Cats: Pulp Fiction and Youth Culture, 1950 to 1980. London: PM Press. ISBN 9781629634586.
- ^ Kirby, Dick (2013). Death on the Beat: Police Officers Killed in the Line of Duty. Wharncliffe. p. 29. ISBN 9781845631611.
- ^ Ferris, Ray; Lord, Julian (2012). Teddy Boys: A concise history. Milo Books.