Terence Fisher's The Last Page 1952.

The Last Page (I prefer the more accurate English title to the lurid American Man Bait) was Terence Fisher's first film for Hammer; he would go on the direct the best of Hammer's horror color films, beginning with The Curse of Frankenstein in 1957.  The Last Page takes place mostly in a genteel bookshop in London that is run by Brent and where Diana Dors is a young invoice clerk.  Dors becomes involved with the sleazy Peter Reynolds when she catches him stealing a book and he helps her extort Brent when Brent, who has an invalid wife at home, makes a pass at Dors.  Dors ends up dead and Brent is blamed and goes on the run, helped by Marguerite Chapman who finds out that Reynolds killed Dors and that he is also responsible for the death of Brent's wife.

The film is suffused with melancholy, with its screenplay by Frederick Knott, who two years later wrote Hitchcock's Dial M for Murder, as Chapman was Brent's nurse in WWII and Brent hides in a bombed out church after discovering Dors's body in a trunk that was supposed to be full of books. As often in Fisher's films everyone is morally compromised in some way and everyone, with the exception of the amoral monster Reynolds, feels guilty in some way. The gritty black-and-white cinematography is by Walter Harvey -- who photographed seven films in 1952 -- and helps Fisher emphasize the contrast between the two main sets:  the genteel bookshop and Peter Reynold's hangout, the lurid The Blue Club.