What is now commonly referred to as the 'police procedural' goes back as far as 'The Moonstone' of Wilkie Collins in the 1880's and in filmic terms has reached its highest level in 'Quai des Orfevres' of Clouzot, 'Maigret tend un piege' of Delannoy and probably greatest of all, the 'High and Low' of Kurosawa.
Here we have the other end of the spectrum in this film of former editor turned director Charles Frend. Mr. Frend's directorial style is workmanlike and far from flamboyant which happens to suit this material extremely well.
Jack Hawkins plays a plainclothes detective as he had done in Carol Reed's masterly 'Fallen Idol' and would again in John Ford's abysmal 'Gideon's Day'. This actor had a touch of class but also possessed the common touch which, together with the wonderful voice of which he was so cruelly deprived in the mid-1960's, makes him immensely watchable as a detective-superintendent investigating a series of robberies.
The film succeeds admirably in depicting the monotonous routine and drudgery of police work which involves a lot of perspiration and the occasional flash of inspiration. It gradually gains momentum and builds to an exciting climax.
Good support from dependable Geoffrey Keen and elegant Ursula Howells. Interesting to see Ian Bannen and Alec McCowen in early roles.
Those of a certain age will no doubt feel a pang of nostalgia at spotting such rare sights as a bobby on the beat, well-dressed concert goers, practically empty roads, being able to hop on a bus and the spectacle of a passenger being helped by a guard to board a moving train!
This film also marks the end of an era as it was the last to be made by Ealing Studios under the leadership of Sir Michael Balcon. Nothing lasts forever.
Here we have the other end of the spectrum in this film of former editor turned director Charles Frend. Mr. Frend's directorial style is workmanlike and far from flamboyant which happens to suit this material extremely well.
Jack Hawkins plays a plainclothes detective as he had done in Carol Reed's masterly 'Fallen Idol' and would again in John Ford's abysmal 'Gideon's Day'. This actor had a touch of class but also possessed the common touch which, together with the wonderful voice of which he was so cruelly deprived in the mid-1960's, makes him immensely watchable as a detective-superintendent investigating a series of robberies.
The film succeeds admirably in depicting the monotonous routine and drudgery of police work which involves a lot of perspiration and the occasional flash of inspiration. It gradually gains momentum and builds to an exciting climax.
Good support from dependable Geoffrey Keen and elegant Ursula Howells. Interesting to see Ian Bannen and Alec McCowen in early roles.
Those of a certain age will no doubt feel a pang of nostalgia at spotting such rare sights as a bobby on the beat, well-dressed concert goers, practically empty roads, being able to hop on a bus and the spectacle of a passenger being helped by a guard to board a moving train!
This film also marks the end of an era as it was the last to be made by Ealing Studios under the leadership of Sir Michael Balcon. Nothing lasts forever.