The daily routine of two London policemen is interrupted by a killer.

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(screenplay), (original treatment) | 2 more credits »
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Won 1 BAFTA Film Award. Another 1 nomination. See more awards »
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Cast

Complete credited cast:
Jack Warner ...
...
...
Robert Flemyng ...
Police Sgt. Roberts
...
Peggy Evans ...
Diana Lewis
Patric Doonan ...
Spud
Bruce Seton ...
PC Campbell
Meredith Edwards ...
Clive Morton ...
Police Sgt. Brooks
Frederick Piper ...
Alf Lewis
...
Maisie
Gladys Henson ...
Mrs Dixon
Tessie O'Shea ...
Herself
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Storyline

We follow the daily activities of two London bobbies, veteran George Dixon and rookie Andy Mitchell. Meanwhile, young hoods Tom and Spud plan a series of robberies with Tom's girl Diana, a discontented beauty, as inside worker. But in their second crime, one of our heroes is shot, setting off a citywide manhunt. The killer is clever, but will he outsmart himself? Written by Rod Crawford <[email protected]>

Plot Summary | Add Synopsis

Taglines:

Sheds just enough light for MURDER See more »


Certificate:

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Details

Country:

Language:

Release Date:

20 February 1950 (UK)  »

Also Known As:

A Lâmpada Azul  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

(Gaumont Kalee) (RCA Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

The was the first film to use the word "bastard" in its dialogue. See more »

Goofs

George Dixon may have put the cape into the local police call box before starting his beat. See more »

Quotes

Diana Lewis: What d'ye think I am? Soft or something?
Spud: Yeah.
See more »

Connections

Referenced in Porridge: No Peace for the Wicked (1975) See more »

Soundtracks

All Correct
(uncredited)
Traditional
Arranged by T.E.B. Clarke
Sung by Jack Warner
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User Reviews

 
Highly underrated...and an exceptionally realistic thriller.
14 August 2009 | by (Bradenton, Florida) – See all my reviews

It's interesting that the robbery and shooting that is the subject of this movie doesn't even occur until almost 45 minutes into the film. This really isn't a complain, really, but more a statement about how the film was constructed. Instead of a typical linear film with a predictable format, this one is instead a realistic drama that emphasizes the routines and typical police work instead of a single crime. And, once the crime occurs, watching the police work was at times mundane and lacked the pizazz of some films but also made the film excel when it comes to realism. Stylistically, some might call it Noir or Noir Inspired--but the film deliberately avoids the lighting, language and grit of true Noir.

As for the acting, it generally was excellent. The policemen were very good--not overly glamorized or macho--but very believable. So, when the widow receives word that her husband died from his injuries, you feel very touched--he was a "real" person and not just a plot device. In fact, this scene was truly exceptional. The killer, Dirk Bogarde, is in one of his first films and is much better than I would have expected--he was menacing and a truly nasty piece of work! The only negative was Peggy Evans, as Bogarde's girlfriend. First, she was supposed to be 17 but was 25--and looked every bit of 25, if not more. Second, I think the director must have told her to scream incoherently if she didn't know what to do in a particular scene, as she did this a lot--too much, frankly.

Overall, it's a darn good police film. Realism seemed to matter over everything else and it was refreshing to see. In many ways, it reminded me of the American film, NAKED CITY, as the everyday police work and procedure was THE star of the film. Highly underrated and well worth seeing.


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