It has been said, by someone far more intellegent and important than me, that a story has a beginning, a mystery and then an end. THE TECKMAN MYSTERY from 1954, fits this convention about as well as can be. I hasten to add, this is neither a good thing, nor a characteristic selling point. What is, and what I believe Studio Canal believe are the films selling points are the following. Its Noir aesthtics, which it pulls off often very well and it being directed by a woman. That woman, Wendy Toye, worked with the greats and then in a world of men and testosterone, directed a rath of films. Dont believe me? See the average documentary on the set about her work. Pamela Hutchinson sells it a little hard but truth be told, Toye was a marvel. But back to the film. Philip Chance (John Justin) is a writer of pulp and biographies. He gets around, at the start he is flying literally. He is not at this point at the heights of the real greats, he so aspires to be. He chances on a commission by his publisher to write the biography of Martin Teckman ( Michael Medwin), a young airman. This young airman was famed for his bravery but sadly he also crashed and died whilst testing a new plane. Chance seizes the day and arriving back in London, starts to prode around for the story. Then things start to happen. People he talks to are beset by unfortunate ‘accidents’. This all indicates strongly that there are people who do not want to see Teckman’s past investigated.

THE TECKMAN MYSTERY has something for everyone if you like these sort of things. I found much to take away from it. As a film, the body of the work, is weighty. The script vasalates from clever and wordy (like a Noir), to sparse and heavy. As this all takes place, it makes the mystery plod. Adding a feeling of extra time. So it feels bloated. Visually, it is another story. The care of frame. Sets are complex and nod to the lost art of mise en scene. Scenes are compelling for this reason. Also another. Toye direction comes alive in places and throughout is tight, springy.  When Margaret Leighton and Justin appear, it feels like a more potent, dare I say, Noirish sexuality is on show. Shame that overall, the film just feels to heavy to make you want to wait for it.

Extras:

The Extraordinary Career of Wendy Toye Pt 1

feat. interviews with  Jo Botting & Pamela Hutchinson, The Stranger Left No Card (1952), On the Twelfth Day… (1955)