Robert Preston had an interesting career. He started out as a movie actor, a star but not a big one, and drifted into television in its early days. Always a presence on Broadway, he achieved superstardom for his portrayal of Harold Hill in The Music Man, and went on to do the movie as well as other big films and Broadway shows, including originating the role of Henry II in The Lion in Winter.Here, he stars in a Hammer film from 1952, Cloudburst, based on a play by Leo Marks. Preston plays John Graham, a cryptographer and someone who worked in the Resistance. His wife Carol is played by Elizabeth Sellars. The two are very much in love, and she saved John's life during the war while, under torture, refusing to talk. They are expecting their first child.As a result of her experience with the Gestapo, Carol has a marked limp, and she falls in the road. A car runs her over and doesn't stop. The driver is a murder suspect trying to get out of town. Graham decides to get revenge and formulates a plan.There's nothing unusual about the story, except in this case, the story focuses in on the character of Graham, his calmness and determination while facing that he has lost everything and cares about nothing but revenge on the driver and his passenger, a woman who told him to keep driving.Colin Tapley plays Inspector Davi, and he does an excellent job.Worth seeing I think for Preston.The author, Leo Marks, kind of a film Forrest Gump. was a cryptographer during the war and gave the poem The Life that I Have to spy Violette Szabo to use as a code. Her story was made into a film in 1958 called "Carve Her Name is Pride," a beautiful film. After leaving cryptography, Marks began to write movies and plays, most notably the film Peeping Tom. His father owned the bookshop featured in 84 Charing Cross Road, starring Sir Anthony Hopkins and Anne Bancroft.

Interesting post-war British revenge tragedy which, surprisingly, casts Robert Preston as a Canadian anti-hero. Fine acting throughout with Harold Lang, who was to become a charismatic acting coach at RADA, as the bad guy. The Scottish actress, Elizabeth Sellars, is doe-eyed and lovely as the lead actress and Thomas Heathcote excels in a cameo performance. It's also good to see some post-war British film industry stalwarts such as Noel Howlett and George Woodbidge turning in their usual robust performances. The black and white photography is quite magical although the film score is overly dramatic. It's sad to see that this film is quite forgotten: the performances demand greater consideration. An English film noir.

I found this movie disappointing. With a plot like that, in a British movie of this era, and Robert Preston to boot, I had very high hopes.The first half is an extremely sappy love story between the two principals, told against grainy dim backgrounds in night scenes. After the accident Preston all too quickly gets his revenge and even more quickly he is picked up in a super efficient police investigation (there is never another suspect, they latch on to him for no reason).I would have preferred a more abbreviated romance, a longer search for the killers, and at least somewhat realistic detective work.The other scenes of Preston's work as a cryptographer seem to consist of a room of eight nondescript people mumbling to themselves. Is that really how they broke codes in the 50's?? Definitely not a keeper.

This is a tightly-constructed mystery of the pre-Black Mask style, in which the solving of the crime -- here a potential serial killer -- must be tracked down, and the only clear clue is a bit of paper at the scene of the crime with a cypher code.The movie tries to add psychological drama by turning it from a "Whoodunnit" to a "Howcatchem" a style of mystery familiar to all fans of the old "Columbo" TV movie series, with the added punch that it is told from the viewpoint of the killer -- in this case, Robert Preston, who is an American who is somehow running a code-breaking division for the British government. Motivations are established early, but the whole thing is rendered a bit flat by the lack of details that surround the personnel. The result is a well-told story that is not, alas, particularly gripping.