[4] It stars George Nader, Maggie Smith (receiving her first screen credit), Bernard Lee, Harry H. Corbett and Bessie Love.

After meeting her at an ice hockey match, he sets about winning her confidence until she is prepared to grant him legal control over the sale.

He completes the deal without her knowledge, stores the money from the sale in a safe deposit box and then deliberately waits to be caught by the police.

But when Sloane is found dead, having accidentally choked on his false teeth due to a gag that Gregory placed in his mouth, they refuse to offer him any assistance, as he is now too "warm."

With the manhunt rapidly approaching, Gregory tries to escape with the help of Bridget Howard, a disillusioned ex-débutante and niece of a chief constable.

[citation needed] In December 1956, Ealing listed Nowhere to Go among a slate of movies planned for the following year in conjunction with MGM; others included Davy (1958) and Dunkirk (1958).

Seth Holt, a longtime film editor at Ealing, became the director, and he was the last major beneficiary of studio head Michael Balcon's policy of promoting from within.

Instead, MGM trimmed the film to a length of 89 minutes and released it in the UK on the bottom half of a double bill with the World War II submarine drama Torpedo Run (1958).

Faithfully adapted from Donald MacKenzie's novel, the script's early stages include much sharply detailed "business" (the prison escape, Greg's planning of the robbery, his efforts to outwit his partner) which is then superseded by various melodramatic plot twists and an attempt to "interpret" the characters' motives.

But the style is too derivative (there are echoes of the fashionable American and French crime schools with their jazzy sound-tracks) so that, apart from one short discussion in a car, there is no sharp awareness of the inner criminal world as in The Asphalt Jungle [1950], for instance.

And the "black" ending (strangely unfamiliar in the British cinema) is made invalid by the film's general lack of involvement with the two main characters.

Seth Holt, in his first film as director, draws resourcefully on his experience in the cutting rooms, at the same time supplying his players with some awkward, near pretentious dialogue.

"[20] David Thomson later called the film "a cool, supremely visual thriller that in terms of its minimal dialogue and daring narrative playfulness is closer to the world of Jean-Pierre Melville than to any British precedents.