WriterWillis Hall, Keith Waterhouse Release date8 October 1963 (London) (UK) Based onplay by Laura del Rivo Initial releaseOctober 8, 1963 (United Kingdom) ScreenplayKeith Waterhouse, Willis Hall CastAlfred Lynch (Joe Beckett), Kathleen Breck (Ilsa Barnes), Eric Portman (Richard Dyce), Diana Dors (Georgia), David Hemmings (Bit role) Similar moviesEric Portman and Kathleen Harrison appear in West 11 and Wanted for Murder
west 11 trailer out on dvd 23 02 2015
West 11 is a 1963 British crime film directed by Michael Winner and based on a play (The Furnished Room) written by Laura del Rivo and adapted for the screen by Willis Hall and Keith Waterhouse. The film features Alfred Lynch, Kathleen Breck, Eric Portman, Diana Dors, and Kathleen Harrison. Set in west London, the title is taken from the postcode W11, and it was filmed on location in Notting Hill.
In Notting Hill's jazz club, coffee bar and bedsit land of the early 1960s, Joe Beckett is a young unemployed misfit and drifter whose life takes a turn for the worse when he encounters Richard Dyce, an ex-army veteran. Dyce persuades Beckett it will be in his interests to bump off Dyce's wealthy aunt for her money. Beckett travels to the old lady's house on the South coast, and prepares to murder her, but loses his nerve and in a struggle, accidentally pushes her down a flight of stairs, killing her anyway. After a witness reports him, Beckett returns to his digs and finds the police waiting for him. Dyce denies all involvement and Beckett panics and turns himself in.
Alfred Lynch as Joe Beckett
Kathleen Breck as Ilsa Barnes
Eric Portman as Richard Dyce
Diana Dors as Georgia
Kathleen Harrison as Mrs. Beckett
Finlay Currie as Mr. Cash
Freda Jackson as Mrs. Hartley
Peter Reynolds as Jacko
Harold Lang as Silent
Marie Ney as Mildred Dyce
Sean Kelly as Larry
Patrick Wymark as Father Hogan
Ken Colyer as Ken Collyer, Band Leader
Allan McClelland as Mr. Royce
Francesca Annis as Phyl
The Radio Times wrote, "Michael Winner's skirmish with British social realism shows what life was like in the bedsits of Notting Hill, years before Julia Roberts showed up. The script is mostly a series of loosely connected sketches, though the film's sole virtue nowadays is the location camerawork of Otto Heller that captures the then peeling and shabbily converted Regency houses that were riddled with dry rot and Rachmanism, which exchanged squalor for extortionate rents. Stanley Black and Acker Bilk's music adds a cloying note to a movie that rarely rises above basement level"; but Variety noted, "it has its merits. The sleazy London locations are very authentically shown. Perhaps too authentically."