Absolutely the worst movie.

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

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

The film never slows down or bores, plunging from one harrowing sequence to the next.

Photographic effects: Tom Howard. Music composed and conducted by John Addison; played by Royal Philharmonic Orchestra. Produced by Hayes Goetz (pronounced "Gets"). Copyright 19 September 1952 by Loew's Inc. A Metro-Goldwyn-Mayer picture. New York opening at the Little Carnegie: 27 October 1952. U.S. release: November 1952. U.K. release: 8 December 1952. Australian release: 21 November 1952. 7,031 feet. 79 minutes. Censored by one minute in Australia in order to gain a "G" Certificate.SYNOPSIS: In 1890, London is shocked at the number of murders of policemen taking place in varied sections of the city. They are always advertised beforehand by a postcard sent to Scotland Yard and signed "The Terror". On the day that the newspapers announce the murder of the eighth policeman, Nicholas Revel (Peter Lawford), an insurance assessor named MacStreet (Colin Gordon), and Ernie Perker (Leslie Dwyer), a hackney cab driver, conspire to steal the immensely valuable Calgurie Emerald at a society ball given by its owner, Mrs. Chumley Orr (Heather Thatcher). The ball is an important affair for other people besides Revel and his accomplices because Jane (Dawn Addams), daughter of the Commissioner of Scotland Yard, Sir Herbert Frensham (Michael Hordern), had decided that her engagement to Captain Sir Christopher Lenhurst (Derek Bond) will be announced there. Revel succeeds in stealing the emerald, but makes one blunder. Having hidden the jewel, he throws its chain and clasp out of a window and it lands at the feet of the ninth of the "Terror's" victims. Thus, when the police find the body, they associate the murderer with the robbery.COMMENT: Good thriller, smoothly directed and agreeably acted — a bit disappointing though for a Philip MacDonald work and the director could have made more play on the suspense and mystery element of "The Terror".OTHER VIEWS: When Dawn Addams stepped before the cameras in England for her role opposite Peter Lawford in M-G-M's mystery-thriller "The Hour of 13", it marked a gratifying moment for the attractive young actress. It was little less than two years ago when Miss Addams first set foot in Metro's London studios to be tested for the role of Judy Miniver in The Miniver Story. Although her test was praised the role subsequently went to Cathy O'Donnell.After that disappointment, Miss Addams went to Hollywood, where she made another test for M-G-M and this time was signed to a long-term contract. She made an auspicious debut as the young college girl who became involved in an auto smash-up with Ray Milland in "Night Into Morning", and followed with the role of Richard Anderson's fiancée in "The Unknown Man". She was next be seen as a member of the all- star cast in "Plymouth Adventure".Born in Suffolk, England, Dawn spent the first five years of her life in India, where her father was stationed with the Royal Air Force. During the war years she lived for a time in England, was evacuated to Wales, spent two years in the United States, then returned to England in 1945. She subsequently studied at the Royal Academy of Drama in London and won her first stage role at the famed Drury Lane Theater. - MGM publicity.

This film features quick, effective editing of sometimes rapid-fire scenes that were obviously well thought out and sequenced with care. The black and white cinematography is good and I believe the whole production is finely crafted. The potential for any real emotional depth of feeling is somewhat stifled overall by the recurring criminal murder subject matter, which is persistently heavy and serious throughout the movie. However, the related jewel thief angle is lighter in tone and is done in an intricate cat-and-mouse manner that I really enjoyed.After the early pretty-boy stage of his career delivering Technicolor "first kisses" to teenage actresses and such, and before his post- 1960 period of boozy hipster parts culminating in his final downward spiral into drug abuse and drunkenness, Peter Lawford did a lot of TV and made some films on both sides of the Atlantic including this one. In "The Hour of 13" (a title of significance to the story, to be explained late in the film) Lawford portrays a charming jewel thief. He does a workmanlike job, is very charming and handsome as always, and is fine as long as you don't stop to ponder how superbly Rex Harrison would have played the part. Dawn Addams is perfectly cast as the intelligent, classy daughter of Michael Hordern's Scotland Yard inspector. Other first rate British actors contribute solid performances.The Victorian London streets, fog and ambiance are well done. The era is depicted as a real time and place, not a nostalgia trip, and is devoid of any mimicry or denigration of Victorian stereotypes.The general viewer will probably enjoy this film as I did if they can appreciate older, very British movies and are interested in seeing Peter Lawford at this stage of his career.

Just saw this film for the first time since it's release in 1952. I was 10 years old then and quite enjoyed it. I must say that it has held up pretty well. No great entry in the Victorian, foggy street mystery genre, but it keeps ones interest throughout.This movie, by the way, was shot in MGM's British studio and features a fine line up of English actors who turn in typically solid performances.One more thing: this was by no means one of MGM's major productions for 1952. In fact, it pretty much qualifies as a B movie (except for running time); that is, a second, and cheaper, feature on a double bill. By 1952, the traditional B movie (as opposed to pictures that merely had lower budgets than the headlining A efforts) had just about disappeared. Soon, virtually all movies could be classed as A pictures, with the possible exception of the shoestring productions by little companies that often ended up at the local drive-in.My point is this: studios such as MGM, when they consciously turned out the 60-65 minute movies that were shot in a couple of weeks at most, still maintained a fairly high standard of quality. One can think of the Val Lewton horror films at RKO-Radio Pictures or. . . well, or "The Hour of 13!"

Although "The Hour of 13" doesn't top its predecessor, this polished but minor MGM item still qualifies as an entertaining, above-average, mystery thriller with a good cast, atmospheric studio settings, and competent direction. Arguably, "The Hour of 13" ranks as one of Peter Lawford's better starring roles in his extremely uneven and spotty career as a leading man. Released in 1952, during the notorious McCarthy era, this Harold ("Rob Roy, The Highland Rogue") French directed film looks as if it were subjected to harsher censorship than its 1934 original. Nevertheless, scenarists Howard Emit Rodgers & Leon Gordon integrate the approved social propaganda seamlessly into their screenplay about what happens when a vindictive serial killer who ices British Bobbies on the beat in cold blood crosses paths with a handsome gentlemen jewel thief in London sometime during the 1890s. The Terror, the name by which the killer is known, murders a policeman near a house where a dinner party is in progress. As it turns out, the Lawford character has just filched a valuable jewel from around a lady's neck and is in the process of making good his escape when he stumbles onto the dead bobby. Mistakenly, the police suspect that the serial killer and the jewel thief are one in the same. As Connor, a high-ranking Scotland Yard inspector, actor Roland ("Thunderball") Culver makes a tenacious adversary. When Lawford comes forward to testify that the British officer that the police have arrested could not have been the murderer, Connor suspects that the Lawford character may be the killer himself in this cat & mouse Victorian mystery-thriller. The Rodgers and Gordon dialogue is very British and wonder to listen to.Between 1935 and 1968, the Catholic Church forced Hollywood filmmakers to alter their movies to accommodate the Legion of Decency or weather a boycott. This pressure advocacy group demanded that Hollywood show the police in a positive light and that criminals must be punished for their crimes. "The Hour of 13" does a splendid job of observing the Production Code while allowing us to sympathize with Peter Lawford's urbane jewel thief Nicholas Revel. No, I won't divulge the surprise ending, since it needs to be experienced first-hand to be enjoyed, but "The Hour of 13" should leave you satisfied. Incredibly, the police are smart for a change, though they make an occasional mistake (check out the 'switch the liquor glass' scene), and the Peter Lawford anti-hero (he does steal for a living) often finds himself in several suspenseful tight spots. When he isn't tangling with the serial killer, he is dodging the nimble-witted Connor and a number of undercover London policemen assigned to shadow his every move. Dawn Addams provides the romantic interest as the daughter of a London cop who is engaged to marry an Army officer. Initially, Scotland Yard suspected the Army officer because he was found with the dead policeman's helmet in his hands. It is interesting that the Lawford character has no love interest and that the Dawn Addams character remains devoted to her husband-to-be. Of course, when the suitor discovers that Revel and his intended have dined together often he is disturbed. The revelation of the serial killer's motives is a nice touch. The Connors character poses more of a threat to Revel than the serial killer.Anybody who has perused any books about Frank Sinatra and the infamous Rat Pack, of which Lawford was a member until Frankie gave him the boot) or books about MGM stars will really enjoy "The Hour of 13." According to books like The Rat Pack and The Men of M-G-M, Lawford severely damaged his right arm during his youth. Reportedly, he smashed it through a French door and did more damage to it when he extracted it. Consequently, his right arm remained virtually useless, except for minor things such as shaking hands, opening & shutting doors, and holding books. He relied visibly on her left hand and often anchored his right in his pants pocket. Armed with that knowledge, you'll be able to fully savor Lawford's performance. In the long shots, in a scene set in a darkly-lit warehouse, our heroic jewel thief fights with the villain and uses his right arm. Clearly, this was a double, because Lawford could not have perfromed in this on-screen fracas owing to his physical impairment. If you like inside production information, background stuff like this will elevate your appreciation of all things Lawford.