Surrounded by new 1950s East End high-rise flats, a London detective thinks back to how different things were in the late 1930s. Then it was an area of overcrowded tenements teeming with ... See full summary »
A great murder mystery. The only clue to a mad killer's identity is his shoes! The crime's only witness saw them while she was bent over picking something up. Duryea is fantastic as the "... See full summary »
Life is not going well for the Huggetts. Father has lost his job. Jimmy and his wife cannot get to South Africa where he has a new job. So the family decide that they should go to South ... See full summary »
As the train approaches the level crossing where the crash takes place it is traveling through open countryside. Yet during the rescue operation after the crash a bridge is clearly visible at a point 30 to 40 meters behind the train. See more »
The film starts with a train crash and then spends its bulk describing 4 separate situations that leads to various characters being on board the doomed train. We then return to the crash and see its aftermath.
Sounds better than it is. The film starts impressively with the force and speed of the train filmed very dramatically. This is far and away the best part of the film and provides a very powerful opening. As we meet the characters, the film gets boring and sadly, that awful unfunny British humour rears its ugly head in a couple of scenes. Trying to endear the audience to old guys by getting them to imitate a chicken or a goldfish just isn't funny to me.
Aside from the naff comedy, the cast aren't very good. This is because either the characters are weak, such as Joan Dowling (Ella), to the point where we don't care about her fate, or else they are just difficult to like. A case in point is pretty much everyone else apart from Valerie Hobson (Stella).
Pianist Irina Baronova (Irina) and composer John Clements (Raymond) are painfully embarrassing and it's all a bit of an anti-climax when so many of this dull ensemble actually survive what looks like a crash that should have resulted in many more fatalities. Oh well, better luck next time! The film scores for the excellent beginning and a confrontational scene between husband and wife Peter Finch (Philip) and Mary Morris (Louise). If the film had concentrated on developing this story in a dramatic fashion, I would be talking about a much better film. But even this little vignette is ruined by absurdity as demonstrated by what Peter Finch decides to pack in his luggage. In his LUGGAGE! To take with him! Dumb film.
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