It was Alfred Hitchcock that popularised the phrase the MacGuffin, a term used to describe the element of the film that drives the characters throughout, often in search of an object, like a briefcase say, or even a bomb, to save themselves.

French director Jacques Tourneur gave his particular MacGuffin a sonic twist, making it a sound, in his 1951 film starring Ray Milland.

Arriving in the UK is American Clay (Ray Milland); he’s not here to see the sights however, he’s after answers. His younger brother came to these shores some years before, to join the army and become a commando. Unfortunately he died on a raid, but under questionable circumstances, so his big brother is here to uncover just exactly what did happen to his brother and how did he die?

Although born in France, director Tourneur found himself in Hollywood when he was around ten years old. He went on to direct some interesting features, including Leopard Man, I Walked With a Zombie, and the iconic 1942 Cat People.

Circle of Danger then is quite an oddity, directed by a French Hollywood director, starring an American star, and shot in the UK, and one that doesn’t completely work.

Certainly Milland does well as the protective older brother seeking answers to his brother’s death. It’s a journey that takes him to Wales, Scotland and England, so at least he gets to see the sights a bit. As part of his investigation, his path crosses that of Elspeth (Patricia Roc), who he is instantly drawn too, and she him.

It’s a peculiar relationship however, as Clay is always making dates and then ghosting her. Elspeth puts up with a lot, quite frankly, making it almost a relationship born to fail. Sure Clay has other things on his mind, but if he makes a date with a lady, at least have the courtesy of showing up.

It doesn’t help either that Milland’s character comes across as fairly aggressive initially, as if he’s playing a film noir detective who has no problem putting his hands on a dame. It just comes across as awkward more often than not however, with Elspeth seemingly the archetypal English rose.

Tourneur certainly does well in maintaining the intrigue, as we’re drip fed parts of his brother’s story. And his use of sound as a MacGuffin is genuinely interesting, and something he possibly could have developed further.

It’s just unfortunate then that the film’s resolution is on the disappointing side, with the circle feeling less of a danger, and more a mild irritation.

Still, it’s a curiosity of its time for sure, and there’s certainly enough originality here to hold your attention, that’s certainly never looked better with this recently restored print.