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It Always Rains on Sunday (1947)

 -  Crime | Drama  -  1948 (Austria)
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Ratings: 7.4/10 from 533 users  
Reviews: 17 user | 18 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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Title: It Always Rains on Sunday (1947)

It Always Rains on Sunday (1947) on IMDb 7.4/10

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Cast overview, first billed only:
Googie Withers ...
Edward Chapman ...
Susan Shaw ...
Patricia Plunkett ...
David Lines ...
Sydney Tafler ...
Betty Ann Davies ...
John Slater ...
Lou - His Brother
Jane Hylton ...
Bessie - His Sister
Meier Tzelniker ...
Solly - His Father
John McCallum ...
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:

It Always Rains on Sunday  »

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?


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 »


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 »


Featured in Forever Ealing (2002) See more »


Theme Without Words
Composed by Mischa Spoliansky
Lyrics by Henry Cornelius (uncredited)
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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