Welsh-born Ray Milland combined an elegant, patrician manner with a high, distinctive, harshly metallic voice that allowed him to play angry or anguished neurotic roles, such as his Oscar-winning turn as an alcoholic in The Lost Weekend (1945). He directed himself in several movies, including the overlooked gem The Safecracker (1958). Now available on demand, it’s an absorbing and still fresh combination of genres, every sequence handled with finesse.
Beginning in 1938 England, the first act is a crime drama and character study of Colley Dawson (Milland), a restless man who’s an expert in one narrow specialty: the ability to open a combination lock the old-fashioned way, with his ears and fingers. When earning an honest living doesn’t get him farther than living with his mother, he’s approached by an art dealer (Barry Jones) who happens to know which safes in England have certain valuable objects that have disappeared—because he’s the one who sold them before in similar off-the-books transactions. This should mean that the owners can’t call Scotland Yard, but apparently they do, because the law is soon following Dawson.