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It Always Rains on Sunday (1947)

Approved | | Crime, Drama | 1948 (Austria)
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.

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Writers:

(novel), (screenplay) | 2 more credits »
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Cast

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 ...
Whitey
John Carol ...
Freddie
Alfie Bass ...
Dicey
Jack Warner ...
Det. Sergt. Fothergill
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Storyline

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 <steve@brainstorm.co.uk>

Plot Summary | Add Synopsis

Taglines:

The secrets of a street you know

Genres:

Crime | Drama

Certificate:

Approved | See all certifications »
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Details

Country:

Language:

|

Release Date:

1948 (Austria)  »

Also Known As:

Die Flucht vor Scotland Yard  »

Filming Locations:

 »

Box Office

Opening Weekend:

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

Gross:

$7,176 (USA) (7 March 2008)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Tommy Swann's back is scarred from flogging, a judicial punishment that was taken off Great Britain's statutes in 1948--one year after this film was made. See more »

Goofs

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 »

Quotes

[Morry has just told off Sadie for buying retail]
Morry Hyams: Where are you going?
Sadie Hyams: To get some fresh air. Don't worry, I'll get it wholesale.
See more »


Soundtracks

Colonel Bogey March
(uncredited)
Music by Kenneth Alford
Played on the harmonica by the boys
See more »

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User Reviews

 
IT ALWAYS RAINS ON Sunday (Robert Hamer, 1947) ***1/2
9 February 2007 | by (Naxxar, Malta) – See all my reviews

Ealing Studios are chiefly remembered nowadays for their string of classic comedies made between 1946-55 but they also put out several notable pictures in other genres - including the justly celebrated horror portmanteau DEAD OF NIGHT (1945) - and this noir-ish melodrama is definitely one of their hidden gems. Although the plot per se is no great shakes - an escaped convict hides out in his by-now-married ex-flame's household - the idea was still fresh at the time and the film's marrying of the realistic and evocative recreation of daily life and surroundings (here being the seamier side of London's East End) with the exciting chase thriller format was much admired in its day and, in hindsight, very influential.

The good cast is headed by the formidable Googie Withers as the embittered housewife whose life of drab domesticity comes crashing down around her with the sudden reappearance of her lover (John McCallum, and Withers' own real-life husband-to-be) who demands food and shelter until he can skip the country; her much older, unassuming husband is played by frequent Norman Wisdom sidekick Edward Chapman and the pursuing police detective by the ubiquitous Jack Warner who cornered such roles in British films of the era, most notably in Basil Dearden's THE BLUE LAMP (1950); Chapman's three children are each having problems of their own and their frequent comings-and-goings in the house during this particular Sunday (the film is set all in one day) brings long-suppressed tensions to the fore.

Even without the eye-catching use of the medium of somebody like Carol Reed, the film is beautifully handled by the talented but ill-fated Robert Hamer - who, among other things, would later direct that which is undoubtedly Ealing's most famous comedy, KIND HEARTS AND CORONETS (1949) - and the climactic sequence (expertly lit, as always, by Douglas Slocombe) in which all the various strands of plot and secondary characters are seamlessly woven together is simply exquisite.

Optimum Releasing also included a featurette with film historian George Perry - who, incidentally, introduced THE BIG SLEEP (1946) at the recent National Film Theatre screening in London I attended; unfortunately, I encountered some playback problems on my Pioneer DVD player even before the start of the main feature but the R2 disc played without a hitch on my cheap HB model.


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