Actuakers One of my all time favorites.

Phonearl Good start, but then it gets ruined

CrawlerChunky In truth, there is barely enough story here to make a film.

Chirphymium It's entirely possible that sending the audience out feeling lousy was intentional

christopher-underwood An extremely well executed film with very difficult theme and despite the care and attention, never mind the pre-filming censorship problems, one wonders just who was likely to be the intended audience. Perhaps the answer is in the makers' fight for a certificate less than an 'X' on the grounds that otherwise children would not be able to see it. It seems that the intention was to send out a warning that not all is wonderful in the world and care should be taken when 'strange' men or simply 'strangers' offer incentives for children to disrobe. The film is of necessity disturbing and there seems little chance such a film would even today be made available to 'children', however hypocritical that is. Gwen Watford is excellent and Janina Faye as the 'victim' absolutely spot on in a very difficult role. Brave, literate and very powerful.

AaronCapenBanner Cyril Frankel directed this still bold drama set in England. Two Pre-teen girls named Jean & Lucille are playing in the woods when they learn that they can get free candy from the old man in the mansion. His name is Clarence Oldenberry Sr.(played by Felix Alymer) and unfortunately he is also a pedophile, and their parents learn later had the girls dance nude for him in exchange for candy. Outraged, Jean's parents Peter & Sally Carter inform the authorities, but are told that because the family are huge town supporters, that filing charges would be unwise. Undeterred, the Carters file charges, with unforeseen consequences for all... Provocative film remains quite daring, but is made with intelligence and restraint, and sadly also remains quite timely as well. An unusual but worthwhile film from Hammer studios.

Jonathon Dabell Usually associated with their horror output, Hammer tried their hand at other styles and genres a lot more than people realise. Never Take Sweets From A Stranger for example is a tense and well-handled drama about a dangerous child molester; rather than being the standard sensationalised exploitation thriller one might be expecting, it is actually a sensitively done drama which tries to tackle its themes with due responsibility and earnestness. Initially undervalued by the critics of the day, the film has since had its worthiness and precautionary relevance proved by time: people hiding behind status and public perception to hide their sexual misdemeanours is something which has reared its ugly head in modern times with celebrity cases such as Jimmy Savile and Stuart Hall. Perhaps the snooty critics back then should have spent a little less time rubbishing the film, and a bit more time praising it for trying to address a very real danger.Peter Carter (Patrick Allen) is the new principal at a school in Canada, bringing his wife Sally (Gwen Watford) and daughter Jean (Janina Faye) over from England with him. Initially thrilled at their new lives in this faraway land, the dream rapidly turns ugly when Jean reveals she has been persuaded to strip naked in return for candy by a local elderly man, Clarence Olderberry Sr (Felix Aylmer). Distressed and enraged by what Jean is telling them, the Carters challenge old man Clarence about his actions. Unfortunately for them, Clarence Sr. is a tremendously rich and successful figure, a trusted stalwart of the town's community, the originator of its thriving economic heritage, and no-one seems willing to accept he might be a paedophile. Or at least no-one seems willing to give evidence against him even if they do harbour any suspicions. The Carters' case is tossed out of court; Clarence Sr. is cleared of all offences. But the failures of the justice system are to prove tragic and costly when old man Clarence, freed and cleared, strikes once more… Starkly shot in black and white, and set in Canada presumably to highlight that the threat of paedophiles is a universal danger (not just something limited to Britain), the film sets up its basic premise tastefully but uncompromisingly. The moment where young Jean reveals what old Clarence has been making her do is every bit as raw and effective as the subject demands, making the viewer uneasy and uncomfortable (just as it should) and setting the tone for the unpleasantries to follow. The brutal court case in which Jean is taken apart and Clarence Sr. made to look innocent is electrifyingly handled. It's not an entertaining film – the subject matter prevents that – but its moral and social intentions are certainly in the right place. The biggest drawback is the portrayal of the paedophile: played creepily enough by Aylmer, the problem is that he is far too broadly written; a slobbering, trembling, staggering monster of a man who is too obviously perverted and dangerous to be a truly believable character. Real paedophiles are much harder to identify, more cunning and evasive and seemingly 'normal'. That aside, however, this is a very impressive message movie from the Hammer people.

Spikeopath Never Take Sweets from a Stranger is directed by Cyril Frankel and written by John Hunter who adapts from the play Pony Cart written by Roger Garis. It stars Patrick Allen, Gwen Watford, Janina Faye, Felix Aylmer, Michael Gwynn, Alison Leggatt and Niall MacGinnis. Music is by Elisabeth Lutyns and John Hollingsworth and Megascope cinematography by Freddie Francis.British family the Carter's have emigrated to small town Canada and are rocked when it is revealed that 9 year old Jean (Faye), and her friend Lucille (Frances Green), were asked to dance naked for candy at the home of elderly Clarence Olderberry Senior. Filing an official complaint, parents Peter (Allen) & Sally (Watford) are astounded to find the town's denizens are reluctant to believe the Carter's take on things. It becomes apparent that the Olderberry family were instrumental in the building of the town and the family has much power within it. With the town closing ranks on the British outsiders, there's a real chance that a suspected paedophile will go unpunished and maybe strike again?Thought provoking and intelligent handling of sensitive material, Hammer's Never Take Sweets from a Stranger has finally garnered the credit it deserves. Back on release the taboo subject of the plot ensured the film was mostly shunned, with bad marketing also proving to be a hindrance. However, it is ahead of its time in many ways, Frankel's (School for Scoundrels) picture manages to gnaw away at the senses with its calm and measured approach work. Francis' (The Innocents) black and white photography a clinical ally to the realism wrung out by Frankel.The alienation of the Carter family is steadily built up, the small town mentality to strangers in their little world unspools calmly by way of credible acting and believable passages of dialogue. By the time the last third arrives, the frustration of the Carter's is shared by the viewers, things get legal and gripping, and then it's the uncoiling of the spring to unleash the denouement. Point made, a message movie of some standing, monsters in our midst indeed. Not merely the predators preying on our children, but also the guilty around them, ignorance most definitely isn't bliss. 8.5/10