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It Always Rains on Sunday (1947)

Approved  |   |  Crime, Drama  |  1948 (Austria)
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Ratings: 7.4/10 from 645 users  
Reviews: 21 user | 23 critic

An escaped convict tries to hide out at his former lover's house but she has since married and is far from keen on the idea.



(novel), (screenplay), 2 more credits »
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Cast overview, first billed only:
Edward Chapman ...
Susan Shaw ...
Patricia Plunkett ...
David Liney ...
Alfie Sandigate (as David Lines)
Sydney Tafler ...
Betty Ann Davies ...
John Slater ...
Lou - His Brother
Jane Hylton ...
Bessie - His Sister
Meier Tzelniker ...
Solly - His Father
Tommy Swann
Jimmy Hanley ...
John Carol ...
Alfie Bass ...
Dicey Perkins
Jack Warner ...
Det. Sergt. Fothergill


Slice of life drama following the lives of various people in London's East End on a wet Sunday. (Is this film why people think it always rains in England ?) Rose was engaged to local wild boy Tommy Swann but he got imprisoned on Dartmoor. After he was locked up she got married to sedate but dull George. Tommy's now broken out of jail and comes to see Rose to get help to flee the country. Written by Steve Crook <>

Plot Summary | Add Synopsis


The secrets of a street you know


Crime | Drama


Approved | See all certifications »





Release Date:

1948 (Austria)  »

Also Known As:

Die Flucht vor Scotland Yard  »

Filming Locations:


Box Office

Opening Weekend:

$7,176 (USA) (7 March 2008)


$7,176 (USA) (7 March 2008)

Company Credits

Production Co:

Show detailed on  »

Technical Specs


Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
See  »

Did You Know?


Googie Withers, who played Rose Sandigate, and John McCallum, who played Tommy Swann, met on this movie, and were married the next year. They were married for 62 years, until his death. See more »


At the club, when Sadie (Morry's wife) sits down to talk to Doris, the spotlight shines on the wall behind them, and the shadow of the microphone is briefly visible. See more »


Joe: We don't cater to the criminal classes.
Detective Sergeant Fothergill: Turned over a new leaf?
Joe: There's such a thing as a law of libel.
Detective Sergeant Fothergill: There's such a thing as ham, but there's none in this sandwich.
See more »


Ealing Follies
Music by Stanley Black
See more »

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User Reviews

Superb and spellbinding British Film Noir
10 October 2007 | by (United Kingdom) – See all my reviews

Film Noir defies definition, plenty disagree whether its a movement, genre, style. Perhaps its more usefully conceived as a sensibility, a world view, an attitude. In which case the words pessimism, determinism ie characters lacking choice their lives are predetermined, doom, gloom, the past coming back to affect the present all spring to mind. Its possible to see a cycle of films with remarkably consistent features in terms of visual style emerging in U.S primarily and to a lesser extent the U.K and France in the forties and fifties. While most noir films have a male as the central protagonist, a male who is invariably weak and flawed, a number of these films, such as Mildred Pierce, have a female protagonist. Noir manifested itself differently in Britain, combining with elements of what was to become known as kitchen sink or social realism and frequently concerned with social class.

This film uses the claustrophobic interiors of the terraced house to great effect. The noir style of long shadows, oblique angles, becomes more evident in the final climax, not really needed early on since the interiors work effectively without lighting effects. Melancholia drips through this like the rain of the title, Googie Withers is terrific, her face a mask of dreams, desires pushed away, disappointment etched over her features through her hard make up. How different she is in appearance to the femmes fatales of the U.S movies, bustling round the kitchen in her pinafore, then later on the almost military smartness of her utility dress when she attends Tommy. As a character shes every bit as strong however as her American counterparts. Like Mildred Pierce, she's strong in a domestic setting, when the usual convention for women in noir is to take them out of the domestic, placing them typically as nightclub singers or gangsters molls. In details I ll acknowledge this is on occasions cheesy and dated. Scratch at the surface however and its a fascinating exploration of the social tensions emerging after World War Two. How were people to adjust to life in peacetime? Were they able to return to the rigidly prescribed roles they d had prior to the war? Ealing studios produced a number of films which now can be seen to share many affinities with American Film Noir, this is one of the most interesting and rewarding.

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