IMDb > Hour of Glory (1949)
The Small Back Room
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Hour of Glory (1949) More at IMDbPro »The Small Back Room (original title)

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Overview

User Rating:
7.5/10   1,141 votes »
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Down 15% in popularity this week. See why on IMDbPro.
Writers:
Nigel Balchin (novel)
Michael Powell (writer) ...
(more)
Contact:
View company contact information for Hour of Glory on IMDbPro.
Release Date:
23 February 1952 (USA) See more »
Genre:
Plot:
As the Germans drop explosive booby-traps on 1943 England, the embittered expert who'll have to disarm them fights a private battle with alcohol. Full summary » | Full synopsis »
Awards:
Nominated for BAFTA Film Award. See more »
User Reviews:
The Archers at their least flamboyant See more (21 total) »

Cast

  (in credits order) (verified as complete)

David Farrar ... Sammy Rice

Kathleen Byron ... Susan

Jack Hawkins ... R.B. Waring
Leslie Banks ... Col. A.K. Holland

Michael Gough ... Capt. Dick Stuart

Cyril Cusack ... Cpl. Taylor
Milton Rosmer ... Prof. Mair
Walter Fitzgerald ... Brine
Emrys Jones ... Joe

Michael Goodliffe ... Till
Renée Asherson ... A.T.S. corporal
Anthony Bushell ... Col. Strang
Henry Caine ... Sgt. Maj. Rose
Elwyn Brook-Jones ... Gladwin
James Dale ... Brigadier
Sam Kydd ... Crowhurst, door sentry
June Elvin ... Gillian
David Hutcheson ... Norval
Sidney James ... 'Knucksie' Moran, barkeeper
Roderick Lovell ... Capt. Pearson
James Carney ... Sgt. Groves
Roddy Hughes ... Welsh doctor
Geoffrey Keen ... Pinker
Bryan Forbes ... Peterson, dying gunner (as Brian Forbes)
rest of cast listed alphabetically:
Ted Heath ... Band Leader (uncredited)

Patrick Macnee ... Man at Committee Meeting (uncredited)

Robert Morley ... The Minister (uncredited)
Richard Nielson ... (uncredited)
John Stratton ... Young Army Officer at Committee Meeting (uncredited)

Directed by
Michael Powell 
Emeric Pressburger 
 
Writing credits
Nigel Balchin (novel)

Michael Powell (writer) &
Emeric Pressburger (writer)

Produced by
George R. Busby .... assistant producer
Michael Powell .... producer
Emeric Pressburger .... producer
Anthony Bushell .... associate producer (uncredited)
 
Original Music by
Brian Easdale 
 
Cinematography by
Christopher Challis 
 
Film Editing by
Clifford Turner 
 
Casting by
Madeleine Godar (uncredited)
 
Production Design by
Hein Heckroth 
 
Art Direction by
John Hoesli 
 
Costume Design by
Josephine Boss 
 
Makeup Department
Peter Evans .... makeup assistant (uncredited)
Dorrie Hamilton .... makeup supervisor (uncredited)
Iris Tilley .... assistant hair stylist (uncredited)
 
Second Unit Director or Assistant Director
Sydney Streeter .... assistant director (as Sydney S. Streeter)
Jack N. Green .... third assistant director (uncredited)
Archie Knowles .... second assistant director (uncredited)
 
Art Department
Ivor Beddoes .... assistant art director (uncredited)
Peter Childs .... junior draughtsman (uncredited)
Ted Clements .... draughtsman (uncredited)
Harry Pottle .... draughtsman (uncredited)
Dario Simoni .... set dresser (uncredited)
Pat Sladden .... junior draughtsman (uncredited)
Wallis Smith .... chief draughtsman (uncredited)
Charles Townsend .... production buyer (uncredited)
 
Sound Department
Alan Allen .... sound
W.H.O. Sweeney .... dubbing sound (as Bill Sweeny)
Peter Butcher .... boom operator (uncredited)
Peter Meyers .... assistant boom operator (uncredited)
George Stephenson .... sound maintenance (uncredited)
Cyril Swern .... sound editor (uncredited)
 
Camera and Electrical Department
Freddie Francis .... camera operator
Anthony Hopking .... still photographer (uncredited)
Will Lee .... focus puller (uncredited)
John von Kotze .... clapper loader (uncredited)
 
Costume and Wardrobe Department
Jack Dalmayne .... wardrobe master (uncredited)
Arthur Skinner .... wardrobe assistant (uncredited)
May Walding .... wardrobe assistant (uncredited)
 
Editorial Department
Stephen Bearman .... colorist (digitally restored version)
Reginald Mills .... supervising editor
Noreen Ackland .... assistant editor (uncredited)
Derek Armstrong .... assistant editor (uncredited)
Tom Simpson .... assistant cutter (uncredited)
Tom Simpson .... assistant editor (uncredited)
Frankie Taylor .... junior cutter (uncredited)
 
Music Department
Kenny Baker .... composer: night club scene music (as Ted Heath's Kenny Baker Swing Group)
Hubert Clifford .... musical director
Frederick Lewis .... composer: night club scene music (as Fred Lewis)
 
Other crew
Doreen North .... continuity
Gwladys Jenks .... production secretary (uncredited)
Vivienne Knight .... publicist (uncredited)
Marjorie Mein .... production department secretary (uncredited)
George Mills .... production assistant (uncredited)
Charles Orme .... production assistant (uncredited)
Jean Osborne .... publicity assistant (uncredited)
 
Crew believed to be complete


Production CompaniesDistributors

Additional Details

Also Known As:
"The Small Back Room" - UK (original title)
See more »
Runtime:
106 min
Country:
Language:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (Western Electric Recording)
Certification:

Did You Know?

Trivia:
This film marked the return of Michael Powell and Emeric Pressburger to Alexander Korda's London Films, after a successful but rather strained period at Rank.See more »
Goofs:
Boom mic visible: A little over 75 minutes into the film, during the scene where the character of Sammy Rice trashes his sitting room, the shadow of the boom mic can be seen reflected in the empty picture frame in the foreground of the shot.See more »
Quotes:
Sammy Rice:I must have a drink. Ask me to have a drink woman.
Susan:Have a drink Sammy.
Sammy Rice:Whisky?
[Susan nods.]
Sammy Rice:No thanks Susan.
See more »
Movie Connections:
Featured in The Unforgettable Sid James (2000) (TV)See more »
Soundtrack:
WintermärchenSee more »

FAQ

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36 out of 39 people found the following review useful.
The Archers at their least flamboyant, 31 May 2002
Author: jandesimpson from United Kingdom

As I am sometimes less than kind in my comments of the Archers, it was a pleasure to rediscover the other day "The Small Back Room" , a film I had not seen since its original release. Although this is generally regarded as one of their minor works, presumably because of its lack of flamboyance, it takes for once a very serious theme and treats it in a thoroughly mature way; that of the psychologically flawed individual and how he reacts when faced with possibly the greatest challenge in his professional career. Two of Sidney Lumet's finest films, "Equus" and "The Verdict" have the same subject. Sammy Rice, the boffin of "The Small Back Room", is struggling with alcoholism and the mental as well as the physical pain of coping with an artificial foot when he is called upon to discover the way to dismantle one of several booby-trap explosive devices dropped by the Germans over Britain in 1943. The casting of the two central characters is perfect. Although the part of Sammy calls for someone with a James Mason like authority, a much lesser actor, David Farrar, rises to the occasion particularly as he has the advantage of a large lumbering frame that conveys a certain physical awkwardness. As his sympathetic ladyfriend, Susan, Kathleen Byron drops her "Black Narcissus" melodramatics to give the performance of her lifetime as the woman who really knows how to handle Sammy when he is at his lowest. Add to this the fine camerawork of Christopther Challis, particularly liberal in its use of huge closeups that significantly heighten the psychological tension of the narrative, and you have a film well worthy of attention. In only two scenes does it falter. Unfortunately by conforming to the tiresome custom of British films of the period of sending up the Establishment, it presents Robert Morley as a rather silly senior minister. Although this would have probably fitted in the context of a comedy it is out of place in a film as darkly toned as this. Then there is the melodramatic lapse of resorting to Teutonic Expressionism when Sammy is fighting his alcoholism. In this nightmarish sequence he is physically dwarfed by a giant whisky bottle and an alarm clock. This is one of only two scenes to use background music. For the rest, untypically for this period, it does without. It makes for a stronger, more hard-edged experience.

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