Suspense can be hampered by relentless action. Assassin for Hire (1951) does not slip into that trap. True to its Soho setting, where a night-time murder sets events in train, there are many scenes in one caff or another set against an almost-Oedipal scenario in which a purported stamp-dealer (Sydney Tafler) in fact earns his money as a killer - not of his mother, but in order to fulfil her dying hopes that her other son would gain recognition as a violinist.
To stage a concert (in the Rigmore Hall!) costs several hundred smackers - and, well, there are ways and means of raising the necessary. Trouble is, the Yard has its eyes on Tafler, in particular there are those bright, hunch-backing organs which animate the pipe-smoking face of Ronald Howard (who became a good Sherlock Holmes later in the decade).
One would like to know more about its director, Michael McCarthy, who died a few years later at just forty. Any writer would have relished his bringing a script to the screen with the aplomb on display throughout these sixty-five minutes' glimpses of post-war London.
A moment to treasure is when a caff owner offers a choice of coffee: “Keynan or Mocca?” “What's the difference?” “There isn't one.” The baristas in modern-day Soho would provide a soliloquy.